Memory Patterns Research

MEMORY PATTERNSGRADUATION RESEARCH REPORT

Graduation Project Research ReportAgata PilipProject Advisor: Bas KortmannMIARD 2012Piet Zwart Institute Rotterdam

MEMORY PATTERNS

I would like to thank my guiding tutor Bas Kortmann for the guidance, support and his enthusiasm in leading me through the whole process. Without his help the end result would not be the same as it is now.

I would like to thank a lot the participants and helpers in organizing of the “Memory Patterns” workshop, which was a milestone in the design process: Alexandra, Ania, Anne, Bas, Bruno, Magda S., Magda Sz., Martijn, Natasa, Rineke and Sherwin.

I want to thank also to Rineke Kraaij and Sander Zweerts de Jong from sandersgeluk for helping me in organizing of this workshop, Alex Danger from HUB for providing me with the space, Singeldingen, Aletta from Buurtflirt and lovely Linda Simons from Albeda Scholingswinkel for promoting this event among the local community, as well as to Joke Sievers from COiD and Frank Belderbos from Deelgemeente Delfshaven for explaining to me the current entrepreneurial situation in the Nieuwe Binnenweg.

Last but not least, I would like to thank my lovely friends, fellow students and other people I met during my design process who believed in me and this project and gave me their support and patience.

I dedicate this project to those people who are engraved strongest in my own memory.

Agata Pilip, Rotterdam, June 2012

MEMORY PATTERNS

“Memory Patterns“: Graduation ProjectResearch Report

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MEMORY PATTERNSGRADUATION RESEARCH REPORT“TELL ME AND I’LL FORGET; SHOW ME AND I MAY REMEMBER; INVOLVE ME AND I’LL UNDERSTAND.”

CONFUCIUS

Agata Pilip, MIARD 2012, Piet Zwart Institute Rotterdam

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MEMORY PATTERNSGRADUATION RESEARCH REPORT

1. INTRODUCTION: MEMORY PATTERNS

2. FRAMEWORK2.1 MEMORY AND ITS ROLE IN STORYTELLING2.2 PATTERN: IDENTITY, MEMORY, STORYTELLING, CONVERSATION2.3 POWER OF STORIES IN PLACEMAKING PARTICIPATORY EFFORT

3. RESEARCH3.1 RESEARCH QUESTION3.2 NIEUWE BINNENWEG – THE SITUATION3.3 STRATEGY AND WORKPLAN3.4 METHODOLOGY3.5 CONCLUSION

4. DESIGN4.1 STOREFRONT DESIGN AS A MEDIUM TO COMMIUNICATE BRAND IMAGE4.2 PATTERN DESIGN THEORY AND PRACTICE4.3 WORKSHOP WITH PARTICIPANTS – CREATING FIRST PATTERNS4.4 DESIGN CONCEPT AND APPLICATION4.5 FINAL DESIGN AND PRESENTATION

5. BIBLIOGRAPHY


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1. INTRODUTCTION:MEMORY PATTERNS


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DEVELOPING PATTERNS BASED ON PERSONAL MEMORIES IN STORE WINDOW DESIGN TO COMMUNICATE THE IDENTITY AND ENHANCE THE IMAGE OF NIEUWE BINNENWEG

In the graduation project “Memory Patterns” I aim to re-tell the story of the district of Rotterdam West and re-brand the major shopping street of the district, the Nieuwe Binnenweg. As a tool for that I chose a series of patterns based on personal memories of inhabitants, developed in a participatory design endeavor. By applying the design along in the empty stores windows along Nieuwe Binnenweg I not only lend them a new identity, but at the same time I explore the value of decoration within design.

The Nieuwe Binnenweg, one of the longest shopping streets in the Netherlands, is a connector between the Rotterdam City Center and the popular tourist destination – the historical harbour

of Delfshaven located in the West of the city. Unfortunately, once lively and representative, the street downgraded during recent decades and instead of being a destination for shoppers and tourists, became a “transit route” between the centre and Delfshaven. Nowadays a great part of the retail spaces on this once splendid shopping street remains empty.

The distant history of Delfshaven’s harbour, that Nieuwe Binnenweg leads to, is not relevant to personal experiences of many potential inhabitants, tourists or investors that would eventually pool their money to set up new businesses and rent the empty retail spaces. We tend to remember better and identify stronger with events, objects or

places that have a story that we can relate to our own memories and experience. Telling more contemporary story of Delfshaven, based on personal memories of it’s inhabitants and letting the potential “consumers” to discover it, will make them feel more connected and committed to their district.

Patterns are a great tool for this kind of visual storytelling. They also lend identity to the objects and let their users to find a way to identify with them on a personal level. The series of patterns inspired by personal memories of inhabitants of the Rotterdam West district create an argument for patterned decoration’s ability to make shop windows along Nieuwe Binnenweg worth stopping to look at.



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2. FRAMEWORK


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2. FRAMEWORK2.1 MEMORY AND ITS ROLE IN STORYTELLING

2.2 PATTERN: IDENTITY, MEMORY, STORYTELLING, CONVERSATION

2.3 POWER OF STORIES IN PLACEMAKING PARTICIPATORY EFFORT


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TO PLACE MY DESIGN PROJECT WITHIN A THEORETICAL FRAMEWORK, I RAISED THE SUBJECTS OF MEMORIES AS STORIES SHARED BETWEEN GENERATIONS, OF A PATTERN AS CONTAINER OF MEMORY AND CANVAS FOR STORYTELLING, AND OF THE INVOLVING POWER OF STORIES THE PARTICIPATORY PLACE MAKING ACTIVITIES.

2.1 MEMORY AND ITS ROLE IN STORYTELLING

“The memory plays funny tricks” as some might say. The more distant in time the memory is, the more idyllic it seems to be. Probably it’s caused by a defence mechanism described in Freudian theory of ‘repressed memory’ – also called a motivated forgetting – that makes our memory blocking out painful or traumatic times in our lives. Even the good memories are not remaining the same over ages and are being altered to the mood or the experiences that we gained over the years. In the article “The Forgetting Pill Erases Painful Memories” published in the March 2012 issue of

Wired, we read:

“Once a memory is formed, we assume it will stay the same. (…) In the past decade, scientists have come to realize that our memories are not inert packets of data and they don’t remain constant. (…) Every time we recall an event, the structure of that memory in the brain is altered in light of the present moment, wrapped by our current feeling an knowledge.” (1)

This all causes that looking back in past often evokes the feeling of nostalgia – yearning for the old good times when everything used to be better. Recalling the memories of things and places that we miss

holds great appeal as it allows us to reminisce, bringing us back to simpler, more carefree times. But telling the stories from the past has also an incredible power of connecting generations - having a memory starts to have more value when it’s shared. We have multiple techniques and devices to keep the memories alive and share them. In a scene from the American series “Mad Men” an advertisement guru Don Draper, pitching for a contract with Kodak for their “The Wheel” projector device campaign, refers in his presentation to the concept of nostalgia and memory preserving in those words: “Nostalgia – it’s a twinge in your heart much more powerful than a memory alone.

1. Lehrer, J. (1998) “ The Forgetting Pill Erases Painful Memories Forever” [Online]. Wired MagazineAvailable: http://www.wired.com/magazine/2012/02/ff_forgettingpill/all/1 [Accessed 20 February 2012].

2. FRAMEWORK


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This device (…) is not called the wheel, it’s called the carousel. It lets us travel the way a child travels - around and around, and back home again, to a place where we know are loved.”

The motive of storytelling and the role of the memory are intensively exploited in the movies. Looking at a selection of classic movies examples we can conclude several reasons for keeping memories alive and sharing them. The memories passed to us by others can lead us through someone’s or something’s history (like the case of the journalist trying to the enigma of the last words of Charles Foster Kane in Orson Welles “Citizen Kane”). Our own memories and experiences help us to define and accept our identity as we reflect back (like the sentimental travel of professor Isak Borg in Ingmar Bergmans “Wild Strawberries”). But also memories have the power of connecting generations and are appealing to people looking for n anchor for their identity – the places that we loved and that are meaningful for us are also engraved strongly in our memory (like the memory of Café Josty at the bombed vacant Potzdamer Platz, remembered by an old passer-by in one of the scenes of Wim Wenders’ “Wings of Desire”). Although shown examples are different, they have one common element that connects them- the memory gets a genuine power first, when it is told – and form a memory becomes a story.

2. FRAMEWORK

Stefanie Bürkle: “Berliner Tapete”


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2.2 PATTERN: IDENTITY, MEMORY, STORYTELLING, CONVERSATION

Our memories are part of our identity and they form our personal story. Many of them are based on visual codes that tell about where we belong to, about our past, legacy and heritage. Graphic elements and ornaments used on our clothing, in the interiors we live in, in the architecture that surround us, are showing who we are, lend identity to the objects and their users. Decoration lends local colour and identity to the objects that it is used for. It also often adds value to plain objects of everyday use, or just in contrast – poorly designed and executed ornamentation can destroy the decent look of a plain object.

The views on the role of décor and ornament change through centuries. At the beginning of XX century Alfred Loos, living in the age of flourishing Art Nouveaux decorative movement, as one of the first turned away from the of ornamentation of architecture and objects of everyday use. In his lecture “Ornament and Crime” (1908) he saw the need

for ornamentation as typical for a low-educated part of society and staying on the way of civilization’s development. For him the ornament was not connecting to the current culture – the ornamentation worked out with using of newer technologies was just a poor faking of the traditional craftsmanship, was superficial and he saw it as a sign of bad taste. He saw also the ornament as a waste of time and resources (unless it would be a source of genuine satisfaction for the maker), and the lack of ornament was for him equal with evolution of the culture – and he certainly right about, which we witnessed later with the development of Bauhaus and modernists aesthetics. However, Loos’ lecture given over a century ago was not concerning the specifics of the capitalism era that came later. Today, in the age of branding, product’s value is not only defined by its functional features, but more by the emotional component. The ornamentation and surface design often enhances the product value and communicates the brand image. An example for that could be numerous Marcel Wanders’ collaborations with major lifestyle brands like Bisazza, Senseo,

Puma, Marks&Spencer, where the “designer collections” are designed by throwing Wanders’ signature patterns on products already being designed by particular brand.

Thus pattern’s role is not purely aesthetic: used on products it communicates their brand’s values, sells the products, makes it recognizable and lets it differentiate from the competitors. But there is much more beyond the mentioned advantages of using patterns on products, in interiors and in architecture. I some cases covering an object with a pattern becomes an act of storytelling and an opportunity for opening a conversation. This phenomenon can be observed in the series of porcelain objects “Nymphenburger Skizzen”, Hella Jongerius took existing signature Nymphenburg designs and covered them with traditional patterns in an unexpected way. Due to this process the ordinary decoration object become “conversation pieces”, helping people unfamiliar with each other to enter into conversation - they are not only an eye-catcher, but is also a part of narrative arrangement.

Hella Jongerius “Nymphenburger Skizzen”


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Patterns not only lend identity to objects, they can also help to reminisce about the past. Berlin based artist Stefanie Bürkle achieves this goal in her work “Berliner Tapete” (“Berlin Wallpaper”). She advertises her work with the tagline ”Palace for everyone!” and her work is an experiment in bringing the outside to the inside and making a façade into wallpaper. At the same time Bürkle’s Berlin Wallpaper brings back a nostalgic memory about a place that does not exist anymore. In 2008 the iconic Berlin building of Palace of the Republic has been demolished in order to make space for bringing back the Berlin City Palace, destroyed in 1950 by GDR authorities. Bürkle takes the image of this battlefield of history and memories and recreates the “Palace of the Republic” feel in form of a pattern, manipulating the picture of its copper-coloured façade into the wallpaper pattern. She sees her work also as a voice of compromise in the endless “Palace Discussion” between its lovers and enemies. The memory about the building can be purchased and cultivated by those who loved it, in the intimate space of their own houses.

Being a tool that lends identity and tells stories, patterns can be well used in place making process. Branding a district with mentioned patterns can be hardly done without an active participation of inhabitants of a district, who are at the same time forming a local community, that is the essence of district’s liveliness and key to its success.

2.3 POWER OF STORIES IN PLACEMAKING PARTICIPATORY EFFORT

What makes us stay in the place where we are and not wanting to move elsewhere? What drags us to a certain place in the city, beside of economical and convenience factors? What makes us dream of living in a particular place? Even if we haven’t visited some places on the globe, we often have a certain image of them in our head. So-called “city branding” not only meets the need to make a city or neighbourhood stand out and attract potential inhabitants in the age of mobility and urban nomadism, but also helps to give the district new meanings that are

sources of certain civic pride, sense of community and are filling of the public domain. To make a desirable place for people to visit and live in, we need to give it an identity that will create in its inhabitants feeling of belonging.

But place making is an organic process and can no be entirely planned without engaging inhabitants and making them participants of this process. Co-designing, participatory actions, bottom-up approach to city planning are valid topics in today’s cities. Strong community plays a crucial role for cities, towns or districts to be livable, and stories are the adhesive that holds a community together – they are a tool to remind the members of the community who they are and what they might become. The power of narrative in getting community engaged in creating a better place to live in can be also expressed in sharing and telling memories. Sharing memories has an incredible power of connecting people of different background, ages and cultures. Recalling the past identity of the district can also lead to imagining and planning on new visions for district development and be an important part of district’s revitalization process.

Hella Jongerius “Nymphenburger Skizzen”


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3. RESEARCH


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3. RESEARCH3.1 RESEARCH QUESTION

3.2 NIEUWE BINNENWEG – THE SITUATION

3.3 STRATEGY AND WORKPLAN

3.4 METHODOLOGY

3.5 CONCLUSION


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BY RE-TELLING THE DISTRICT’S STORY BASING ON PERSONAL MEMORIES ABOUT THE DISTRICT, I PRESENT THE STORIES OF THE DISTRICT THAT ARE ENGAGING AND WERE PROBABLY NEVER HEARD ABOUT BEFORE BY MANY. THE MAIN RESEARCH QUESTION APPEARING IS HOW CAN PERSONAL MEMORIES BE TRANSLATED INTO DESIGN THAT TRIGGERS PEOPLE TO RECALL AND TELL THEIR MEMORIES AND STORIES.

3.1 RESEARCH QUESTION

The businesses located along the Nieuwe Binnenweg in the part between ‘s Gravendijkwal and Heemraadssingel are frequently changing their owners and character, which makes me assuming that in this moment the demand for goods and services offered there is much lower then the supply. I would like to increase the demand by getting the consumer more engaged and loyal to the products and services offered in

Rotterdam West. To achieve that, I need both to recreate the image of the district by presenting it in a different way than it is done now, promote it in a way that will be engaging to the visitors.

3.2 NIEUWE BINNENWEG – THE SITUATION

Rotterdam is a very specific place on the map of the Netherlands and significantly differs from other Dutch cities. It was destroyed in a great part in the German

bombing in 1940 and then re-built in modernist fashion, giving space for urban and architectural experimentation. It has no centre like other cities, but a decentralized system of “hot spots” - in form of neighbourhoods, public buildings or major ensembles. Delfshaven, the historical part of Rotterdam West, is one of those “hot-spots” – its harbour escaped the 2nd World War bombings and remains a nostalgic but somehow artificial piece of land where time stopped. However, the qualities of the Delfshaven district

3. RESEARCH PART


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reach far beyond being simply a memorial of the distant past: the district is a vibrant, multicultural neighbourhood inhabited by diverse social groups, with different stories to tell and different memories to share.

Nieuwe Binnenweg was set as a route between the city of Rotterdam and the village of Delfshaven. In the second half of XIX century a significant part within the triangle between Mathenesserlaan, ’s-Gravendijkwal and Rochussenstraat was erected, providing housing for middle-class citizens, surrounded by fields. At the beginning of the XX century, after the rapid development of the harbour, the first immigrant district of Rotterdam has been built between Nieuwe Binnenweg and West Kruiskade, which brought an interesting mixture of classes and backgrounds of the Rotterdam West inhabitants. So it is till today – next to social housing and cheaper accommodation occupied by immigrants and students, the bigger splendid houses along Mathenesserlaan and Heemraadssingel are mostly inhabited by higher class. So diverse are also the businesses in the Nieuwe Binnenweg. After the war, when the city centre was bombed, the empty strips along Nieuwe Binnenweg provided perfect conditions to

be built with temporary shops with mostly needed articles and thus Nieuwe Binnenweg became the longest shopping mile in the Netherlands, with speciality shops and entertainment businesses in the northern façade. In the eighties, when the Lijnbaan in the city centre became too expensive for young businesses with special urban functions, they moved to

Nieuwe Binneweg. The Nieuwe Binnenweg of today is all about diversity which reflects its history very well: it is diverse in terms of architecture styles and typologies of the buildings along it, diverse is also the public living and shopping there, and this diversity reflects also in the character of businesses located there: from hip espresso bars thorough exotic food takeaways

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to latex-fetish and other speciality stores, but sadly, it downgraded gradually during last two decades from a lively district full of festivals and community events to a bit forgotten, not well maintained and slightly dodgy shopping street.

3.3 STRATEGY AND WORKPLAN

The aim of my project is to contribute to re-generation and recreation of the image of the street of Nieuwe Binneweg. To achieve that, I want to use inhabitants personal memories to re-tell the story of the district. Before starting my research, I defined three focus groups that I would like to get engaged in the design and defined different goals I want to achieve by conducting my research and designing my final project.

- DESIGN PARTICIPANTS: current or previous inhabitants of Rotterdam West. Those are the people who have certain memories about the district and sharing them with me, they contribute to the shape of the final design. Their participation in this stage of design

should reinforce their feeling of belonging by remembering and telling stories of Rotterdam West. To do it, I provide them with an internet platform missyoumywest.com, where they can share and also read other peoples stories. Concerning that the respond on the website can not be as big as awaited, I also conduct one-to-one interviews with the inhabitants and organize a workshop, where they will be able to tell their stories of the district;

- DESIGN RECEIVERS: those are the tourists and potential new inhabitants of Rotterdam West. The project should get them involved by discovering the story that they can identify with;

- DESIGN USERS: current and new-coming entrepreneurs. By showing them what a good store display can do for the business, how much it can grab the attention of potential customers, I want to educate and encourage them to take greater care for their own store windows. They are also free to use one of my patterns for their store window,

which will creating a feeling of “ownership” of the district and reinforce the feeling of belonging to the local community.

3.4 METHODOLOGY

Before getting into participatory design process and to be able to work closely with the local community, I undertook several steps in order to gain solid knowledge about the district and it’s history, about its community and authorities involved in the regeneration process of the neighbourhood.

:: CITY ARCHIVEThe first step in discovering the Rotterdam West I have taken led me to the collection of Gemeente Archiev Rotterdam (City Archive of Rotterdam). To have a solid preparation to the talks about the memories, I browsed those resources to find out about places in the West of Rotterdam that don’t exist anymore but were significant in the everyday life Rotterdam. Gemeente Archiev Rotterdam has a wide collection of archival photos

Nieuwe Binnenweg 293 in 1926 Nieuwe Binnenweg 293 in 2012


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that enable a closer view into past appearance of Rotterdam’s streets and interiors and a collection of architectural drawings. They also have a library with variety of books dedicated to historical places of Rotterdam. Browsing the archive’s collection was a great way to get prepared for the stories about the district shared by the inhabitants.

:: BLOG TO COLLECT MEMORIESTo get inhabitants of today’s Rotterdam West aware of my project, to present the outcomes to them and also to encourage them to share their memories, I set up a blog platform missyoumywest.com. The website consist of four sections: one is the stories collection, the second is the map with remembered places pinned on it, the third are the news regarding the project and the fourth is the section where the users are able to share their memories via a contact form. To promote the blog, I spread postcards and mini cards with a historical picture of Nieuwe Binnenweg and a quote from “Mad Man” about nostalgia. I noticed an increased traffic to the website after the promotional action, however not

so many memories flew to ne via this source. This experience shown me the importance and difficulty in getting people involved in actions that require their involvement and their time spent – unless they get some king of incentive, it is hard to convince them into taking action. Also the act of memorizing, needs to be simulated by something – weather by someone else sharing the memory we have which we start to remember while hearing to the story, some happening that is similar to our memory or smells, colours, shapes that remind us something we remember. A website is very limited in providing this kind of stimuli.

:: ONE-TO-ONE INTERVIEWS WITH INHABITANTSThe other method of research, after the experience of the website not being an ultimate tool to gather the personal memories. I picked a group of 7 individual interviewees and conducted in depth one-to-one interview with them, each of length of 30-60 minutes. The background, age and gender of the interviewed inhabitants varied to

Traces of time in Nieuwe Binnenweg

give broadest insight in the district’s story. The individual interviews were a good tool, because it’s character enables personal interaction and an exchange of thoughts, that evokes often by people memories that they didn’t think about before. Personal dialog has also more intimate character then a website, provides more involving environment.During the personal interviews I collected very personal information about places around Neiuwe Binnenweg, told form very subjective perspective. A very valuable interviewee was Mr Henk Vermeiden. His family runs a family-business grocery shop Vermeyden Wijnen en Delicatessen in Nieuwe Binnenweg 335a. This local grocery store exists already for more than 100 years. Now the store does not belong to the Vermeiden Family anymore, but is still a place where one can get the highest quality products.

Running the store, Henk Vermeiden contributed very much to the local community of Nieuwe Binnenweg. The store was always run by him with heart and commitment,


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supported by innovative ideas – long before we’ve heard about the “experience economy”, the owners knew how important it is to involve the customers and offer them an unusual retail experience. The making of the longest spaghetti, the water and fruit stand for elephants visiting Nieuwe Binnenweg, the great artworks in the interior of the shop not only made the Delicatessen a special place in the Rotterdam West, but also contributed to the image and liveliness of the neighborhood. One of Mr Vermeiden’s initiatives was also the art festival Shop-art Festival – in 1995-1998 a group of artists displayed their works in the store windows along Nieuwe Binnenweg.

:: OUTCOMES – MOST REMEMBERED AND MISSED PLACESConcluding the talks and interviews I had with present and former inhabitants, one main conclusion comes to my mind: in memories of all of them the Nieuwe Binnenweg as they remember it from former times was more lively and nicer place to be as it is in the present. One of the interviewees, Jacira, remembers the street from her

childhood as more friendly and suitable for children and notices, that now there are barely any places for children to spend their time there. Beside shops, coffee shops and some bars of strange reputation, there are few places that are a destination for anyone – the Nieuwe Binnenweg forms more a transition route between Delfshaven and the Centre of Rotterdam.

There are still some specific places on the memory map of Rotterdam West inhabitants that used to contribute to the higher quality of the street. One of very interesting finds I got was the previous cinema, located in Nieuwe Binnenweg 326 – envisioned by Karl Weisbard in 1918, then designed by Jac. van Gelderen and erected within just 99 days. The building was impressively innovative regarding it’s construction and architecture, among others thanks to its cantilevered balcony in the main facade. Wester Bioscoop (Western Cinema) housed major cinematographic events of Rotterdam, like important movie premiers and movie stars galas. He first movie with sound in Netherlands was screened there. Later within the time the cinema

changed it’s name to Capitol, and later housed two venues: Grand and Studio’62. After the cinema has been closed and turned into an evangelic church, Nieuwe Binnenweg lost an important city-life catalyst: there was one important reason less to visit this part of the city after the cinema has gone. I noticed during the interviews that this place is strongly remembered by my interviewees. There are also numerous “gezellig” coffee places that disappeared together with closing of the cinema, that are still lively in the memory of inhabitants.

:: LOCAL AUTHORITIESWorking on the project connected so much to the community and the district, a crucial part was to get to know the local authorities and organizations that deal with similar topics and to make them as far as possible collaborate with me. After a research and several talks, I contacted local organizations that could be relevant for my design project: COiD (Centrum Oonderneemers Delfshaven – Centre for Enterpreneurs in Delfshaven, www.coid.n), Deelgemeente Delfshaven – the

Capitol Cinema, Nieuwe Binennweg


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group in charge of the renovation of Nieuwe Binnenweg situated in Albeda Scholingswinkel (nieuwebinnenweg.eu), an organization for reactivating and revitalization of empty spaces called Leefstand (leefstand.wordpress.com/), BuurtFlirt – a local organization for bringing community together, an initiator of BuurtSalon café in an empty retail space in Rotterdam West (buurtflirt.nl), Sanders Geluuk – local artists collective active in the neighbourhood, Community Lover’s Lab being an author and publisher of Community Lover’s Guide to Rotterdam (communityloversguide.org).

Meeting 1: Joke Sievers from COiDThe first steps I took to visit the Centre for Enterpreneurs in Delfshaven. This organization was set up to promote, encourage and strengthen the entrepreneurship in Delfshaven. To achieve this, they promote the sharing of the knowledge among entrepreneurs and encourage them to come and bond together. They organize workshops, inform about actions and initiatives in the district, and are the major meeting point for the business owners registered in the district of Delfshaven. Their website and publications are

also a promotional tool for local businesses.

After hearing about my plans and about the research I am conducting, Joke told me an overall story of the recent initiatives and plans regarding entrepreneurship in Nieuwe Binnenweg. She informed me about the fact, that at the beginning of 2012 the City Council started a big renovation plan for the street part between ‘s Gravendijkwal and Erfbrug, financed from the European Union resources. She gave me also an overview into local initiatives and artists, who would be best to approach in terms of collecting stories and organizing a workshop for the inhabitants, like for example Sandersgeluk who I contacted later on.

Meeting 2: Alex Danger from Leefstand Talking to my landlord, Mr Frits Buningh, who happened to be also the owner of an empty furniture shop downstairs, I found out about Alex and his initiative Leefstand. Together with Charlotte Paull he runs a co-working space HUB and the shop HUBShop in Rotterdam. They also share strong interests in revitalizing and reactivating of empty (mostly retail) spaces in the city and therefore run Leefstand.

As they state on their website, “Cities across Europe and North America have been plagued by long term empty and unused spaces. This trend often leads to decreased foot-traffic, economic restructuring, property abandonment, high unemployment, crime, and desolate urban landscapes. To counter these effects Leefstand acts as a catalyst in the revitalization of urban areas, by activating empty spaces.”Alex told me that mainly what he and Charlotte are doing, is to organize events and temporary arrangements in the empty retail spaces in Nieuwe Binnenweg.

These activities not only let young entrepreneurs and artists to try their ideas and express their artistic vision, but also have a positive influence of the condition of the space: it happened several times, that a space that couldn’t find a tenant for months, was rented after the event happened there. The empty space while being used gets an extra value and presents itself in different light than before, and at the same time demonstrates possible use of it and how the users interact within the space.After some talks and after I explained my workshop idea to him, Alex offered to provide me with an empty retail space in

Promotion Material blog “Miss you, my West!“


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Nieuwe Binnenweg 507 where I could organize my workshop about memories of Rotterdam West.

Meeting 3: Rineke Kraaij and Sander Zweerts de Jong from sandersgelukThe next contact point regarding the workshop for inhabitants, was the artist atelier sandersgeluk, that Joke from COiD informed me about. Sandersgeluk is an artists and makers collective. With their projects they want to create moments of happiness and freedom, related to social developments. Their aim is to start a public debate about existing thought-patterns and achieve a cross-interaction between artists and others representing other disciplines. They have a broad experience in organizing workshops where they interact with inhabitants or other space users. They helped me a lot in organizing the workshop in terms of advising me on techniques I should choose and borrowing me some supplies for the workshop. Rieneke also took part in the workshop, as she also lives in Rotterdam West.

Meeting 4: Maurice Specht from Community Lover’s Lab

Thanks to Rieneke I also had an opportunity to meet another person who is very active in local community reactivation. Maurice is a philosopher and activist, an initiator of Community Lover’s Lab – a place where inhabitants of the district are welcomed to take part in participatory workshops, envisioning better future for the beloved part of the city as well as putting in the spotlight existing problems. Maurice is also a member of a network of Community Lover’s Guide to Universe makers – in numerous cities there are units of activists collecting information about local community initiatives and putting them together in form of a book, available online and also as a hardcopy print. This gives an useful overview on initiatives in the neighbourhood, gives an opportunity to join forces and brings the activists together. The talk to Maurice was useful in terms of how to approach the people during the workshop and what tools to use to make the workshop being successful. The space that I organized my workshop in was the same space, where some days before the Community Lover’s Guide to Rotterdam, as well as the children book “T’huis in Rotterdam

West” were launched.

Meeting 5: Aletta Oterdoom from Buurtflirt Buurtflirt (Neighbour Flirt) is an initiative by Marieke Bergsma, Janneke van Dijk, Nachet Louchahi and Aletta Oterdoom. Together they develop temporary creative meeting points in cities forgotten locations. In these “Flirt - Locations” Buurtflirt puts local residents and creative and entrepreneurial forces in the spotlight. There are two most important ingredients for this flirt-locations to become active: empty properties and one or more creative disciplines.

Aletta helped me out in preparing the Dutch version of the advertisement text for my workshop – without this it would be almost impossible to get into local community. She also promoted my event via Buurtflirt website and Facebook and helped me to get the community engaged. Together with Leefstand, they also organize the Empty Spaces Festival in Nieuwe Binnenweg on the last weekend of May, where the topic of empty spaces will be raised and discussed.


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Meeting 6: Frank Belderbos from Deelgemeente DelfshavenAs mentioned before, there are massive renovation works being conducted in the Nieuwe Binnenweg. Over 12 mln euro were put into renovation of the street and into new urban furniture facilities. The part of the street being renovated is the one between ‘s Gravendijkwal and Erfsbrug Bridge in Delfshaven.

The regeneration works are mostly focused on renovation of the street surface and facades, but there has been also developed an overall strategy for Nieuwe Binnenweg. I met the project manager of the Nieuwe Binnenweg revitalization project, Frank Belderbos, to talk about their strategies and plans concerning this part of Rotterdam.One of the strategies for Nieuwe Binnnweg, because of the diversity of customers who visit it and live around, is to keep the reac diversity of the street. There are no franchise stores allowed in the street, beside of Albert Heijn supermarket and Etos drug store that are already present, and maybe Gall&Gall store that will move there in the future. The existing franchises, because of

their everyday-shopping character, are still activating the street, but too many of this kind of stores can contribute to dying of the street (like it happened with the main high street in Schiedam), because they don’t offer anything unique. The authorities are proud and supporting very specialized and unique stores, like for example the latex store, that sells unique range of product even on the global scale. Some kind of businesses are not allowed anymore, mostly those that don’t contribute positively to the overall image and liveliness of the street, like telephone stores.

The other important information about the strategy of putting new shops in the Neiuwe Binnenweg is the fact, that the whole street was branded, and each of three major fragments became a topic: between ‘s Gravendijkwal and Claes de Vrieselaan we have the “Lifestyle” part, between Claes de Vrieselaan and Heemraadsingel we have the “Culinary” theme, and from Heemraadsingel till the end of the street at the Erfsbrug we have the opportunity to visit the “Adventure” part of the street.

Also significant is the scale of facades renovation: during the 70’s, while the oil crisis and times, when shop owners wanted to save on the heating, in many shops the ceilings were lowered, what reflected in the façade: the plinth of Nieuwe Binnenweg became not relevant to the other, upper floors of the buildings. There are numerous subsidies offered to the shop owners who want to renovate their facades.Beside of overlooking the project, the Scholingswinkel also publishes periodical magazine about life and businesses in Nieuwe Binnenweg and sends out a regular newsletter. They helped me out in advertising of my workshop and in getting in touch with as many inhabitants as possible.

:: WORKSHOP WITH INHABITANTSTo collect more stories, but also to experiment on graphical techniques and on ways how stories can be told with help of patterns, I organized a workshop called “Memory Patterns” that took place on 17. March 2012 in one of the empty shops in Nieuwe Binnenweg 507. This space is curated by Leefstand and is used temporarily for different

Workshop Memory Patterns


26 |

community initiatives, for a reading room for children, and hosted also the launch of “The Community Lovers Guide to Rotterdam” and children book “T’huis in Rotterdam West”. This event, as mentioned before, was organized thanks to the friendly support of Leefstand, in collaboration with an artist group sandersgeluk, and was promoted with help from Buurtflirt, community initiative Singel Dingen and Nieuwe Binnenweg Revitalization Centre in the Albeda Scholingswinkel.

To invite people to the workshop I approached them personally, used help of mentioned organizations, advertised it on my website and on a local Rotterdam events website “We Own Rotterdam”. The publicity was effective in a sense that it also drew attention of local media – the local newspaper Echo published a short article about the workshop on its first page. At the end, I got a group of 10 people participating in the workshop.

The participants were asked to bring to the workshop one object that they have a memory about Rotterdam West connected with. I

found this necessary to encourage participants to recall the most precious memory, and those brought objects became “conversation pieces” at the end that the story could have been anchored to. During the first part of the workshop we talked about the brought objects and told our stories and memories. In the second part of the workshop the participants were asked to team up in groups of two to come up with a new story based on the memories of both of them and work on a graphical representation of the new story in form of a pattern. There were five available graphic techniques: linoleum, stamping, cutt-offs, ecoline inks, and collage. After the works were ready, we talked again about the outcome which also provoked interesting discussions and again the exchange of memories and stories.

3.5 CONCLUSIONThe most important lesson learned from the workshop was that in order to be able to encourage people to tell and recall memories, there is a need for a catalyst that will stimulate this stories exchange. Weather during the one-to-one talk, or during a group endeavor,

the leader’s/talk moderator role is to provide this catalyst. In case of my workshop those catalysts were the objects that participants brought with them. Being asked to look for such and object before the workshop, the participants found themselves in the situation, where they had to pounder through their memories. The other important thing is that the participants should get any kind of incentive that encourages them to take a part on the workshop – weather in a form of a new skills they will gain (learning graphic techniques), a thing that they can take home, or a feeling of participation in some major activity regarding something they care for – in this case their district. What we also gained from the workshop was trying out different techniques and getting many valuable ideas during the co-design brainstorm session.What could be improved in the future is the communication about the workshop – the promotion campaigne should be bigger, more intensive and should have started longer before with a series of steps introducing the actual event, conducted on a very personal level with the potential participant. To encourage people to take part


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in a workshop when they talk about something so personal as their memories, a strong personal relationship should have been built before the actual workshop started.

Om voor elke wijk een 'aan-pak op maat' te kunnen creë-ren, formuleerde het vorigecollege in zijn collegeak-koord de ambitie om in degehele gemeente gebiedsge-richt te gaan werken. Hierbijbeloofde Rotterdam meer tewillen handelen vanuit de be-

hoeften en noden van de wij-ken, zodat het gemeentebe-stuur sneller tot resultatenzou komen. Vier jaar na destart blijkt uit het onderzoekdat gebiedsgericht werkenechter niet leidt tot de beloof-de snelle zichtbare resultaten.Bovendien zou er te weinigvraaggericht worden gewerkt.

Zo blijken de plannen van hetgemeentebestuur onder meerte breed te zijn opgezet, wor-den er onder de vlag van 'ge-biedsgericht werken' activi-teiten verricht die zich nietvoor gerichte beleid lenen enhebben de deelgemeenten on-voldoende slagkracht om debeleidsplannen uit te voeren.

Belemmering'Daar waar de deelgemeentebevoegd is of optreedt als op-drachtgever, wil het stedelijkbeleid de deelgemeentelijkewensen nog wel eens door-kruisen.' Volgens de Reken-kamer ligt het grootste deelvan het budget bij de ge-meente, terwijl dit de deelge-

meenten belemmert om hetbeleid op maat uit te voeren.Één van de voorwaarden omhet 'gebiedsgericht werken' tedoen slagen, is om de deelge-meenten meer macht te ge-ven. 'Zo heeft de deelge-meente Charlois niet de regieover de herstructurering vaneen winkelgebied, de deelge-meente Centrum niet over deaanpak van het Schouwburg-plein en de deelgemeenteNoord niet over aanpak vande Hofbogen.'

Lees verder op pagina 4

Weekblad

C E N T R U M , W E S T, D E L F S H AV E N

Woensdag 28 maart 2012Uitgave van Holland Combinatie

www.dichtbij.nl

'Overvallendoor de politie'

LokaalDe Kuip al 75jaar overeind

StadZonder afspraakhuizen kijken

Wonen

CENTRUM - De Drievrien-dendwarsstraat in het OudeWesten wordt een gemeente-lijk monument. Het pittoreskehuizenblok, dat al jaren op denominatie staat om gesloopt teworden, is volgens de com-missieWelstand en Monu-menten een 'waardevolle aan-vulling' op demonumentenlijst. EigenaarWoonstad vond het eerder teduur om te renoveren, maarmag het nu dus niet slopen.De Drievriendendwarsstraat isvolgens de monumentencom-missie nog het enige overge-bleven bouwblok in Rotter-dam dat laat zien hoe dearmste arbeiders eind 19eeeuw werden gehuisvest.

'Drievrienden'wordt eenmonument

ROTTERDAM - De Rotter-damseVoedselbank kan doorde crisis tijdelijk geen nieuweaanmeldingen meer honore-ren. Het voedseluitgifte-puntvoor armen heeft te kampenmet een te grote toename aanklanten. Zo kloppen er iederedag gemiddeld bijna tien nieu-we gezinnen aan. Supermark-ten zouden door de recessiebovendien scherper inkopenwaardoor de voedselpakkettensteeds minder gezonde basis-artikelen bevatten.

Voedselbankgaat gebuktonder crisis CENTRUM - Een bewoner van de wijk het NieuweWesten

blaast door een rietje om een 'kunstwerk' in elkaar te knutse-len. Afgelopen zondag konden omwonenden van de NieuweBinnenweg een object meenemen dat ze herinnert aan hunwijk. Tijdens de workshop 'Miss you, myWest!' werden de ob-jecten vervolgens aan elkaar gekoppeld om er een nieuwekunstwerk van te maken. De voltooide werken komen vervol-

gens te hangen in het oude pand van Metropool. Het ideekomt van deWillem de Kooning-studente Agata Pilip die haarbijdrage wil leveren aan de renovatie van de Nieuwe Binnen-weg. Zo moeten de kunstwerken straks in meerdere leegstaan-de etalages getoond worden. De straat krijgt binnenkort na-melijk een grootschalige renovatie waarbij er meer ruimte isvoor terrassen en 'opvallende' zaakjes. (Foto: Rinus Vuik)

Knutselen met herinneringenROTTERDAM - Bewonersvan Rotterdam die hun kleineboodschap herhaaldelijk lo-zen op muren of straten kun-nen hiervoor een 'vrijwillige'taakstraf krijgen. De notoirewildplassers mogen kiezenuit drie dagen werken bij deRoteb of een boete van 500euro. Ook mensen die hunhuisvuil verkeerd aanbiedenmogen in plaats van het beta-len van een dwangsom ookhun handen laten wapperen.Begin volgende maand startRotterdam met deze proef.Na een jaar wordt gekeken ofdeze manier van straffen haarvruchten afwerpt. Daarnaastworden ook de schoonmaak-kosten verhaald op wildplas-sers, dat is een bedrag van 78euro die nog eens bovenop deboete komt.

Taakstraffenvoor notoirewildplassers

ROTTERDAM - De politieheeft afgelopen zaterdag ze-ventig mensen opgepakt tij-dens een grootschalige alco-hol-actie. Dit gebeurde in hetkader van het nieuwe pro-gramma 'Drugs &Alcohol'waarbij jongeren worden aan-gehouden omdat ze op straatovertredingen plegen doorovermatig alcoholgebruik.Dit varieerde van op de open-bare weg drinken tot aanwildplassen en baldadigheid.Daarnaast kregen zeventienpersonen een zogenaamd'screeningsgesprek' waarbijgekeken werd of sommigejongeren verslavingsgevoeligzijn. In totaal werden vijfminderjarigen gepakt, waar-van de jongste 14 jaar was.

Politie paktzeventig'alcoholisten'

Rekenkamer trekt vernietigende conclusie over 'gebiedsgericht werken'

'Falend beleid van de gemeente'DOOR OLAF SMID

ROTTERDAM - De gemeente, die al ruim vier jaar met'gebiedsgericht werken' de problemen in de 62 verschil-lende wijken sneller en beter hoopt op te lossen, werktonvoldoende. Dat blijkt uit de vernietigende conclusievan het onderzoek van de Rotterdamse Rekenkamer:Wijken voor de stad. 'Het betreft in feite het gehele ge-meentelijke takenveld en daarmee de gehele begrotingvan enkele miljarden euro's.'

Deze week maar liefst 10 woningen met korting,zie onze advertentie elders in de krant.

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Lees verderopmeer over het

Havenziekenhuis

1.

4.

2.

5.

3.

6.

LINOLEUM TEAM

1. Draw the shapes on the linoleum plates and carve along the lines

2. Spread the paint on the roll

3. Put the paint on the linoleum plate

4. Put the paper on the plate

5. Roll over the paper couple of times, pessing pretty strong

6. Voila! After the pint dires a bit, try to use other colours

NIEUWE BINNENWEG - EMPTY RETAIL STORES - NORTH SIDE

DAILY SHOPPING

DAILY SHOPPING

LIFESTYLE

LIFESTYLE


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NIEUWE BINNENWEG - EMPTY RETAIL STORES - NORTH SIDE


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NIEUWE BINNENWEG - EMPTY RETAIL SPACES - SOUTH SIDE

DAILY SHOPPING

DAILY SHOPPING

LIFESTYLE

LIFESTYLE


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NIEUWE BINNENWEG - EMPTY RETAIL SPACES - SOUTH SIDE

LIFESTYLE


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4. DESIGN


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4. DESIGN4.1 STOREFRONT DESIGN AS A MEDIUM TO COMMIUNICATE THE BRAND IMAGE

4.2 PATTERN DESIGN THEORY AND PRACTICE

4.3 WORKSHOP WITH PARTICIPANTS – CREATING FIRST PATTERNS

4.4 DESIGN CONCEPT AND APPLICATION

4.5 FINAL DESIGN AND PRESENTATION


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DURING MY STUDIES AND PROFESSIONAL PRACTICE I HAVE DEVELOPED STRONG INTERESTS FOR RETAIL SPACES THAT COMMUNICATE THE BRAND STORY, FOR SO-CALLED ‘BRANDSCAPES’. MY FINAL DESIGN IS TO BE APPLIED IN THE EMPTY STORE WINDOWS TO COMMUNICATE THE DISTRICT IDENTITY TO THE WIDER AUDIENCE.

4.1 STOREFRONT DESIGN AS A MEDIUM TO COMMIUNICATE BRAND IMAGE

There are numerous ways to communicate brand’s image and brand story within a retail store. Beside of being told within the store interior, the brand story is communicated to the outside through the store window, and that is most of the time the first touch point where the consumer encounters the brad. In the beginning of the 20th century Selfridges in London revolutionized the store window design by leaving the window lights on at night, so that the passers-by could enjoy the presentation returning home from the theatre.

This activity of “window shopping” is relevant also now, in times of intense ecommerce. Especially in the places like some German cities, where the stores are closed on Sundays, one can observe that taking a walk to the major shopping streets on Sunday afternoons just to watch store windows is a common activity. The store window is a powerful tool to communicate one’s story as well as to attract potential customers. But the major difference before nowadays and past decades that can not be forgotten is, that the store window is now more about storytelling and providing a brand experience rather than about the product.

4.2 PATTERN DESIGN THEORY AND PRACTICE

Before starting designing my graduation project patterns, I had to became familiar with major techniques of designing of patterns and repeats. Allover patterns are mostly used in textile designs industry, but not only – they can be practically applied to everything we can imagine.

As my design oscillates around the storytelling subject, I got especially interested in so-called conversational patterns, sometimes referred to as novelty prints. This kind of patterns is able to “tell a story” by containing images of objects or situations. There are

4. DESIGN PART


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many great examples for this visual storytelling, as for example the marine-motives inspired pattern design by The Church of London. The artist elaborates: “I wanted the design to look like the inside cover of a battered old sea exploration book and have enough detail for you to discover new things every time you look at it”. In fact, this pattern inspired by Wes Anderson’s film “The Life Acquatic with Steve Zissou” is based on traditional damask pattern layout, but instead of containing only floral motives, it pictures also various sea life creatures and faces of fishermen.

After examining numerous case studies, I also got to know about the technical aspect of creating a seamless repeat, about the composition rules being applied to a pattern swatch design, colour schemes and also digital techniques supporting the designing of pattern repeats. After gaining this theoretical knowledge and determining that my memory patterns will be a conversational pattern containing images of objects and situations, I moved further into more detailed design process.

4.3 WORKSHOP WITH PARTICIPANTS – CREATING FIRST PATTERNS

During the mentioned workshop with participants we created

several patterns, using several different techniques. None of them were design as a traditional repeat because of short duration time of the workshop, but rather gave an interesting sketch of what the graduation patterns could

have become. One of the most interesting aspects developed during the workshop was the layering of different “patterns” and stories, because our memories are also being “layered” and diffusing with each other. I determined that

4. DESIGN PART

Damien Hirst: Cathedral Print, Duomo 2007

Kaleidoscopic graphic, author unknown


36 |

there will be two layers: one based on archival photos of places that are engraved in the memory of inhabitants, and one will contain the objects that inhabitants brought to the workshop and based their memory stories on.

4.4 DESIGN CONCEPT AND APPLICATION

Thinking of the application of the design I determined that the designed element has to be modular and should be easy to apply in various situations and for various needs. This and the fact, that the most iconic Dutch medium for pattern application is a ceramic tile, I decided to design kind of layered tile, that is affordable, changeable and crates a temporary and light construction that is easy to be applied in the store window. The organization of the tile will be similar to Delft Blue traditional tile: an narrative representation in the middle is being framed by more abstract, ornamental pattern. As the design has to posses a certain nostalgic touch, I decided to use the kaleidoscope. This device, which only role is to create patterns, bases on

the principle of creating them by use of light and reflection. The memory of using the kaleidoscope in the childhood takes us on a nostalgic journey and lets us “travel as a child travels - around and around”, as Don Draped said in his presentation about the Kodak’s Carousel device. The analysis of kaleidoscopic images (like for example the butterfly series by Damien Hirst) determined also the shape of the tile – because of the construction of a kaleidoscope, the patterns created by it are based on polygonal shape and I decided on a hexagon because this polygon is convenient to be used as a module in multiplied setups.

4.5 FINAL DESIGN AND PRESENTATION

For the final presentation I decided on building a prototypical installation of Memory Tiles basing on sample Memory Patterns. Six hanging elements are lit with accentuating spotlights, as in the typical store window design, making the storefront to “pop-up” and preserving it from getting the common “black hole effect” that can be observed in the store windows in outdoor storefronts, that is caused

by poor lighting design.

The other applications are: a sitter that can be placed weather within the store or outside, or be used as a side table/product display table; a ceramic tile that can be used as a store floor/wall covering element as well as outside; a lamp shade that can be used for pendant/ floor standing light sources. The other possibilities of applying the Memory Tiles/Patterns are endless: packaging, textile, street signage, POS material, web design etc.

Because of the fact that the hexagonal cutoff design is based on repetitive piece that is repeated circurally, it gives an opportunity for easy customizing of the design for the needs of individual enterpreneurs. Using a website platform an individual is able to order a pattern containign for example his businesses logo incorporated in the memory pattern and have it produced according to their wishes and needs.

NARRATIVE

ORNAMENT


| 37 Workshop Memory Patterns


38 |

5. BIBLIOGRAPHY


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5. BIBLIOGRAPHY


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PATTERN DESIGNCole, D. (2007): “Patterns. New Surface Design” Laurence King Publishing Ltd LondonKight, K. (2011): “A Field Guide to Fabric Design: Design, Print & Sell Your Own Fabric; Traditional & Digital Techniques; For Quilting, Home Dec & Apparel” Stash BooksLoos, A (1908): “Ornament and Crime” in Adolf Loos, Ornament and Crime. Selected Essays, Studies in Austrian Literature, Culture and Thought Translation Series 1997Tallon, K. (2011): “Digital Fashion Print with Photoshop and Illustrator” BatsfordTiettenberg, A. (2007): “The Pattern Which Connects” in Patterns in Design, Art and Architecture, Birkhäuser BaselWollheim, R. (2007): “On the Consturction of Surfaces – Patterns in Architecture” in Patterns in Design, Art and Architecture, Birkhäuser Basel

BRANDING AND CITY BRANDINGAirey, D. (2009): Logo Design Love: A Guide to Creating Iconic Brand Identities New Riders Press Anholt, S. (2003): Brand New Justice: The Upside of Global Branding, Butterworth-Heinemann Banksy (2005): Wall and Piece Random House UK: LondonCEOs for Cities (2006): Branding your CityDinnie, K. (2011): City Branding: Theory and Cases Palgrave MacmillanMommaas, H.(2002): “City Branding” in CIty Branding: Image Building and Building Images, NAI Uitgevers, RotterdamSpeaks, M. (2002): Individualization without Identity” in CIty Branding: Image Building and Building Images, NAI Uitgevers, RotterdamWheeler, A. (2009): Designing Brand Identity: An Essential Guide for the Whole Branding Team Wiley

INTERIOR + BRANDING, VISUAL MERCHANDISINGKlaten, R. (2011): “Out of the Box!: Brand Experiences between Pop-Up and Flagship” Gestalten: BerlinKlingmann, A. (2010): “Brandscapes: Architecture in the Experience Economy” The MIT PressMoreno, S. et al. (2005): “Forefront. The Culture of Shop Window Design” Frame / BrikhaeuserMorgan, T. (2011): “Visual Merchandising: Window and in-store display for retail” Laurence King LondonNeumeier, M (2005): “The Brand Gap: How to Bridge the Distance Between Business Strategy and Design” New Riders

ACTION RESEARCH O’Brian, R. (1998) An Overview of the Methodological Approach of Action Research

BIBLIOGRAPHY

BIBLIOGRAPHY

Graduation Research ReportAgata Pilip

MIARD 2012Piet Zwart Institute Rotterdam

Memory Patterns Research

Documents

Transcript of Memory Patterns Research