Multicultural Experience at Gulfstream Process Book

8/18/2019 Multicultural Experience at Gulfstream Process Book

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Multicultural Experience at GulfstreamApplied Theory in Design | Professor Regina Rowland | Winter 2016


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Table of Contents

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Project Framing

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Research Planning

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The Team

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Figure 15. I-8D '0112-4C

Introduction

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Project Framing

Research Planning & Secondary Research

Primary Research

Concept Testing

Development of the Final Protoype

Implementation

Presentation

Process Book

Exploration of Concepts

Defining Opportunities

Synthesis of Findings

Week 1 Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10

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Timeline

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Project Framing


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Subject of Study

Problem Statement

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Purpose of Study

Scope of Study

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Research Planning


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Ecosystem Map

Secondary Research

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Refined Umbrella Research Question

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Research Methodology

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Research Sub≠questions

Research Sub≠question 1: What is culture?• Z-7 :- +B.9B801 :2//08[• Z-7 :- :2//08049 +B.9B801 -E08.6@[• Z-7 523,9 +B.9B86. :2E08129< +80690 6 5-80 0482+,243 9065 0]@08204+0[• I,69 680 9,0 .0684243 0]@0+9692-41 -/ 19B:0491 /8-5 :2//08049 +B.9B801[• I,69 680 9,0 19B:049 0]@08204+01 7,2.0 7-8D243 24 :2E0810 90651 69

WB./198065[• How does the Gulfstream community dene culture?• Z-7 :- 24:2E2:B6. +B.9B86. 986:292-41 +80690 9,0 +B.9B80 -/ WB./198065[

Research Sub≠question 2: What is multicultural

experience?• Z-7 :- :2E0810 +B.9B801 6:6@9 24 -8:08 9- 04,64+0 +-55B42+692-4[• Z-7 :- :2E0810 +B.9B801 6:6@9 9- /-1908 .0684243[• Z-7 :- 5B.92+B.9B86. 0]@08204+01 6//0+9 +-55B42+692-4 24 6 .0684243

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+80692-4 -/ 2:061[• How might stakeholders from different multicultural identities nd

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WB./198065[• What cultural characteristics inuence teamwork?• Z-7 +64 B4:081964:243 -/ :2//08049 +B.9B86. +,686+9082192+1 ;0

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Research Sub≠question 3: What makes upGulfstream?

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Research


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Data Collection Methods

Cultural probe )++-8:243 9- Z642439-4 U#$%#O @C_?VO j) +B.9B86. @8-;0 21 :0E0.-@0:

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Fly-on-the-wall A,0 :01234 team used the AEIOU method to record observations.

According to Hanington (2012, p.10), “The AEIOU method can beB10: 9- :0E0.-@ 6 7-8D1,009 /-8 +6903-82Q243 -8 +-:243 -;108E692-46.4-901 61 9,0< -++B8C H9 @8-E2:01 @80109 +6903-8201 X 6+92E29201O04E28-45049O 249086+92-41O -;M0+91 64: B1081O 64: 6..-71 /B89,08analysis on the recorder information.” The AEIOU method was usedby the design team to make observations in ve spaces at GulfstreamX W86: 1@6+0O D29+,04O 049864+0 36..08


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Data Processing Methods

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Figure 29 . User Interaction with Cultural Probe.

Charting and Diagramming for Cultural Probe andSurvey A,8-B3, +,6891 64: :2638651O 801068+,081 680 6;.0 9- 386@,2+6..< E21B6.2Q0 24/-85692-4 64: 4B5082+6. :696C A,0 24/-85692-4369,080: /8-5 9,0 +B.9B86. @8-;0 64: 1B8E0


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Figure 31 . Interview Afnity Process.

Interviews

• Understanding ot,08 +B.9B801 21 D0< 9- .0684243C• People benet from multicultural environments.• S@04 7-8D243 04E28-450491 04+-B8630 5B.92+B.9B86.

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Equality Hierarchy

Individual Group

Direct Indirect

Risk Caution

Task Relationship

X

Y

WZ

X

X

X

X

Y

Y

Y

Y

Z

Z

Z

Z

W

W

W

W

Personas I29, 9,0 -;M0+92E0 -/ 3B2:243 /B9B80 :0+212-41 24 9,0 :01234 @8-+011O 9,0

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goals, desires and limitations. These proles were created using the ve

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Figure 34. L081-46 IC

PersonasName: W

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T 21 /8-5 H4:26C Z0 ,61 7-8D0: 24 568D09243 6304+201 64: :B0

9- ,21 @8-/0112-4O ,0 ,61 E21290: +-B498201 .2D0 (,246O N864+0OF0]2+- 64: )B1986.26C A86E0.243 21 ,21 @6112-4 64: :B8243 ,21 982@1he is a proud ambassador of his culture. His direct and [email protected]< 56D01 ,25 6 3--: /8204: 64: /6+2.296901 :26.-3B0CP0.692-41,2@1 680 25@-89649 9- ,25O ,0 21 6 3--: .2190408 64:.-E01 9- .0684 /8-5 :2//08049 +B.9B801C Z0 :0+2:0: 9- 19B:< *01234F646305049 69 '()* 61 6 [email protected] 9- ,21 +68008 64: +,-109,0 1+,--. ;0+6B10 -/ 291 5B.92+B.9B86. 04E28-45049C

Figure 36 . L081-46 TC

Name: X

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Figure 36. L081-46 eC

PersonasName: Y

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Figure 37. L081-46 oC

Z is from China. She came to the U.S. 6 months ago and this is her

rst time living abroad. Due to her short experience working inEnglish, she is having difculties to communicate in class and with,08 +.61156901C ',0 6.1- @80/081 9- 7-8D /8-5 ,-50 64: 904:1 9-38-B@ 729, @[email protected] /8-5 ,08 -74 +B.9B80C ',0 B101 ,08 /800 92505-19.< 9- +-55B42+690 729, ,08 /652.< 24 (,246C ',0 +,-10:'()* /-8 291 19869032+ .-+692-4G 3--: 7069,08O 4068 9- 9,0 ;06+,64: 156.. 04-B3, 9- B10 @B;.2+ 98641@-89692-4 0//0+92E0.


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EFFECTS

LEARNING

SITUATIONALLY

WORKING

SPACESRESOURCES

EFFECTS

LEARNING

NEGATIVELY

LANGUAGE

GROUPING

EFFECTS

LEARNING

POSITIVELY

POINTS

OF

VIEW

UNDERSTANDING

MULTICULTAL

TEAM

WORK

ENJOY

KNOWLEDGE

AND SKILLS

OTHER

CONDITIONS

Te diff erent sizes of circles show thediff erent quantity of i nsights gatheredfrom primary research.

•

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Findings≠a t≠a ≠glance Map The ndings-at-a-glance map was created to visualize and

1


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Students enjoy working in multicultural teams.

Insights How might we...? Opportunities

Multicultural teams provide opportunities toexchange knowledge and skills.

Other conditions unrelated to culture also

a ff ect teamwork.

Multicultural experiences allow students tounderstand issues from diff erent points of views.

Working spaces in Gul fstream encouragecollaboration but lead to constant interrup-tion.

Access to re source s a ff ects work at Gulfstream.

Language can become a barrier in thedevelopment of projects.

Grouping by culture limits opportunity tobreak stereotypes.

Understanding leads to better learningexperiences.

...off er more enjoyable multicultural team experiences.

...take advantage of this enjoyable experience to enhanceour project values.

...enhance the exchange of knowledge and skills in theexisting positive social experience.

...address non cultural issues in teamwork and diff erentiate

them from cultural issues.

...create empathy for varied points of view of multiculturalstudents at Gulfstream.

...encourage learning about cultural diff erences.

...use socializing to overcome language barriers in teamprojects.

...learn the benets from grouping to enhance multiculturalteams.

...improve the space layout at Gulfstream in order toenhance communication.

...provide constant access to resources at Gulfstream.

Tere is an opportunity to reinforce the existing enjoyablemulticultural experience in order to enhance the work eff ectiveness.

To extend the positive social experience existing in multiculturalteams to other learning environments.

Break the stereotype by understanding the diff erence between

personal and cultural issues in team work.

To devise ways to encourage an empathetic attitude towardsdiff erent cultures.

To establish an eff ective interface between students and resourceproviders' to encourage students to work at Gulfstream.

To utilize the benets of open spaces at Gulfstream in order toencourage communication, collaboration and team work.To explore ways to create privacy in collaborative spaces atGulfstream.

For breaking stereotypes through teamwork.

To use social experiences to overcome language deciencies.

To devise tools in order to create awareness about our culturaldiff erences and similarities, and utilize them for eff ective team work experi ence.

1.

2.

3.

4.

5.

10.

8.

9.

7.

6.

How Might WeÖ ? The research matrix facilitates translating ndings obtained from various

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Intangible Tangible

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To explore ways to createprivacy in collaborative spaces

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To establish an eff ectiveinterface between studentsand 'resource providers' to

encourage students to workat Gulfstream.

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Figure 40. S@@-89B429< F6@C

Opportunities'24+0 564< -@@-89B429201 7080 806.2Q0: 9,8-B3, 9,0 801068+, 56982]O 9,0

design team decided to rene them by mapping their positive and negative25@6+9 -4 9,0 WB./198065 +-55B429< 64: 9,028 80.0E64+0 9- 9,0 B5;80..6801068+, YB0192-4C A,0 56@ ;0.-7 761 +80690: 9- E21B6.2Q0 9,0 25@6+9 -/

9,0 -@@-89B429201 -4 9,0 WB./198065 +-55B429< -4 6 1+6.0 -/ 1,-89 9-

.-43 9085C H4 9,21 E21B6.2Q692-4 E682-B1 -@@-89B429201 680 56@@0: 24 -8:089- :09085240 9,028 @-1292E0 64: 403692E0 25@6+9 -4 9,0 5B.92+B.9B86. 9065 7-8D 69 WB./198065C

Data Analysis and Synthesis Methods


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High Impact

Short Term Long Term

Low Impact

1

5 2

4

108

9

7

6

3

Reinforce the existing enjoyablemulticultural experienceTo extend the positive socialexperience existing in multiculturalteamsCreate awareness about our culturaldiff erencesTo use social experiences toovercome language deciencies.

For breaking stereotypes throughteamwork.

Intangible

Encourage an empathetic attitudetowards diff erent cultures.Break the sterotypes byunderstanding the diff erencesTangible

To utilize the benets of openspaces at GulfstreamCreate privacy in collaborativespaces at Gulfstream.

Encourage students to work atGulfstream.

5.

3.

8.

9.

10.

1.

2.

3.

6.

7.Figure 41. #]# *263865 61 ',-89.219243 A--.C

Shortlisting Final Opportunities A,0 904 -@@-89B429201 7080 56@@0: -4 6 #]# 56982] 24 -8:08 9-

:09085240 9,028 25@6+9 U.-7 9- ,23,V 64: 9,028 801B.91 U1,-89 9085to long term). The ve opportunities that composed the high25@6+9 64: 1,-89 9085 YB6:8649 7080 10.0+90: /-8 :0E0.-@5049COut the ve shortlisted opportunities, three were recognized as96432;.0 -@@-89B429201 9,69 80.690: 9- 7-8D1@6+0 64: 04E28-4504964: 97- 7080 80+-342Q0: 61 2496432;.0 -@@-89B429201 9,69 80.690: 9-;0,6E2-81 64: 69929B:01 -/ 9,0 196D0,-.:08 38-B@C

Conclusion A,0 :01234 9065 :0+2:0: 9- :0E0.-@ 9,0 2496432;.0 -@@-89B429201C A,0 96432;.0 -@@-89B429201 7080 80.690: 9- 9,0 469B80 -/ 0]219243 7-8D1@6+01 24 WB./198065C A,010 7-8D1@6+01 680 :012340: 64:@.6440: ;< 6 :0:2+690: :01234 :0@6895049 /-8 '()*C )4< @-112;.080+-5504:692-41 /-8 +,64301 9,69 +-B.: ,6E0 6 .-43 9085 25@6+9 7080 ;0


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Figure 42. *01234 (8290826 )46.


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Design Criteria


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Figure 43. ',-89.219243 *01234 (8290826C

Choosing the criteria

Re≠f rame

)/908 10.0+9243 9,0 5-19 6++B8690 +8290826O 9,0 9065 E-90: /-8 9,0most important concepts that the nal design must fulll. The

24/-85692-4 761 -83642Q0: 9- E21B6.2Q0 9,0 80.0E64+0 -/ 0E08


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Figure 44. ',-89.219243 *01234 (8290826C


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Conceptualization and Prototyping


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Filtering the ConceptsSB9 -/ 9,0 ># 2:061 1-50 2:061 9,69 :2: 4-9 6:,080 9- 9,0 :01234

+8290826 7080 0.2524690:C A,0 805624243 2:061 7080 E-90: /-8 ;< 9,024:2E2:B6. 505;081 -/ 9,0 :01234 9065C A,0 +,-104 :01234 2:061 7080 +6903-82Q0: 249- 9,0 /-..-7243 _ 9-@2+1C

• \864:243 • =E049• '@6+0• FB12+• W6501

Figure 45. H:0692-4 L8-+011C


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Figure 46. (-4+0@9 A019243G \864:243C

A,0 10.0+90: 2:061 7080 +-5;240: 64: :0E0.-@0: 249- @8-9-9


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Figure 47. (-4+0@9 A019243G =E049C

Event ) +B.9B86. /--: 64: 3650 ,-B8 761 +B8690: 61 64 0E049 9,69

761 +-4:B+90: 24 WB./198065 -4 6 'B4:6< 0E04243C A,21 0E049+-496240: 36501 64: /--: /8-5 :2//08049 +B.9B801 64: 80YB280:6+92E0 @6892+2@692-4 64: 1,68243C

L8-1G• H9 761 E08< 04363243 64: 24908019243C• H9 +80690: 5064243/B. +-4E081692-41C(-41G• H9 400:1 6 .-9 -/ @.644243O 6990492-4 64: ,-19243C• L6892+2@6491 7080 ;B1< 729, 9,028 801@0+92E0 7-8D 64: ,6: 9- ;0

24E290:C• H9 ,6: 6 +-19 [email protected]+692-4C

A exible and adaptable framework

) E0,2+.0 9- 24+80610 +B.9B86. 2490..304+0

) E0,2+.0 /-8 +8069243 64 24+.B12E0 04E28-45049

) 76< 9- @8-5-90 +-..0+92E0 .0684243

NB4 64: 04363243


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Space ) (B.9B86. ZB; 761 :0E0.-@0: 9- +80690 6 1@6+0 9,69 04+-B86301

5B.92+B.9B86. 249086+92-4 69 WB./198065 64: 0E-.E01 729, 9250C A,21 (B.9B86. ZB; 761 6 U`T^T`Vf /86507-8D +-4198B+90: 729,Lg( @2@01 64: 24196..0: 24 9,0 W86: '@6+0C A,080 7080 & 50:2B51-/ 249086+92-4 729,24 9,21 (B.9B86. ZB;G• N--:• R643B630• (B.9B80• FB12+• ',68243 • H49086+92E0 0.05049G N.631 -/ :2//08049 4692-46.29201

L8-1G• H9 761 04363243C• H9 @8-5-90: +B.9B86. @82:0C• H9 0:B+690: @6892+2@6491 6;-B9 :2//08049 +B.9B801C(-41G• H9 400:0: 6990492-4 64: /80YB049 B@:69243C

Figure 48. (-4+0@9 A019243G '@6+0C

Testing Concepts

A exible and adaptable framework

) E0,2+.0 9- 24+80610 +B.9B86. 2490..304+0

) E0,2+.0 /-8 +8069243 64 24+.B12E0 04E28-45049

) 76< 9- @8-5-90 +-..0+92E0 .0684243

NB4 64: 04363243


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Music A,0 I6E243 (B.9B80 -/ WB./198065 761 :0E0.-@0: 61 6 @.6


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Figure 50. (-4+0@9 A019243G W6501C

Games A7- 36501 7080 :0E0.-@0: -4 0]219243 3650 198B+9B801 -/

A8-B;.0 64: K0436C A,010 36501 7080 90190: 729,24 9065 505;08164: 729, 9,0 +B88049 +.611 -/ *FWA >^# 729, ,0.@ -/ L8-/011-8P-7.64:C A,080 7080 97- 5624 +-5@-40491 24 9,010 36501G• A,0 6+92-4 9,69 761 3-E0840: ;< 9,0 ;612+ @805210 -/ 9,0 3650O

/-8 03G 805-E243 6 ;.-+D /8-5 9,0 ;.-+D 9-708C• H49086+92-4G A,21 761 30408690: ;< +8069243 6 109 -/ +68:1 729,

YB0192-41 9,69 9,0 @.6


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Figure 51. W650 A019243 69 =E049C

Shortlisting Final Concepts

)/908 9019243 9,0 _ 2:061 64: +8292+6..< 0]6524243 9,028 @8-1 64:+-41 24 801@0+9 9- 9,0 :01234 +8290826O 9,0 36501 7080 +,-104/-8 /B89,08 :0E0.-@5049C A,0 36501 .0E08630: 5B.92+B.9B86.0]@08204+0 ;< @8-E243 6 3--: 50:2B5 /-8 249086+92-4 64: 70806:6@96;.0 61 @08 +,643243 +-490]91C SB9 -/ 9,0 # 90190: 36501O 9,0;.-+D 3650 761 96D04 /-8768: /-8 :0E0.-@5049C


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Figure 52. L8-9-9


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Prototype Development


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Figure 53. W650 *0E0.-@5049C

Developing Final Prototype

*B8243 9,0 9019243 19630O 9,0 9065 369,080: /00:;6+D 64:1B330192-41 /-8 25@8-E05049 /8-5 19B:0491 64: @8-/011-81 7,[email protected]


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Figure 54. A065 A019243 W650C

Break it! A,0 -;M0+92E0 -/ 9,0 3650 21 D00@243 9,0 ;.-+D 9-708 /8-5 /6..243

7,2.0 @B..243 ;.-+D1 /8-5 29 64: ;B2.:243 -4 9-@C \< 9B841O 90651roll the die and pull a block identied with the corresponding4B5;08C A,0 ;.-+D 72.. 80E06. 6 +-.-8 9,69 569+,01 729, 6 +68:+6903-8


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Figure 55–56. L6+D630 *01234 'D09+, U9-@VC W650 (,686+9081 U;-99-5VC

Developing Final Prototype

Packaging DesignTeam Up @6+D63243 21 6 7--:04 ;-] 9,69 ,0.@1 109 B@ 9,0 3650C

A,0 5690826. @8-90+91 9,0 @20+01 611B8243 9,0 3650f1 :B86;2.29


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Figure 57. L8-9-9


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Figure 58. L8-9-9 19B:0491 /8-5 :2//08049 56M-81 69 WB./198065C


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Figure 59. L8-9-9


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Figure 60. User Interaction with Prototype.


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Figure 61. Pains, Gains and Insights from User Testing.

Pains Gains Insights

Extreme

Moderate Nice to have

Important

One game was clearly more engagingthan the other.

Instructions set must be clearer, simplerand more visual.

People don’t like to follow instructions.

People ejoyed playing with pieces, evenafter and before the game. Te pieces areengaging.

People are more engaged if they can winor lose. A clear goal must be dened.

Some questions must be revised.

Partial fall oftower wasn’tconsidered

Unclear orinconsistent

questions and

instructions

Dice color was confusing

Big groupsresulted indisengagement

Unclear isthey shoulduse one ortwo hands

Tornadocards:

individual orby group?

Break It wasslow lessengaging

Timing mustbe controlled

Questions were engaging

“Colors andnumbers are

fun”

Make it! game was veryengaging

‘Nextbirthday’ rule

had goodresults

Pains and Gains )/908 9,0 @.6


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Figure 62. N246. L8-9-9


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Figures 19 . P01068+, 19B:< 80.692-41,2@ 1D09+,CFigure 63. N246. L8-9-9


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What is a common expression

in your country?

What does it mean?

Culture & Traditions

Culture & Traditions

7 :

design

I think design is important

because…

: 0 4

design

Team Up

TEAM UP

game is to increase the capacity of the players to

work across cultures. Playing the game enhancescommunication and understanding between the

participants. There are two ways of playing this

game BREAK IT or MAKE IT.You must decide if you want to BREAK IT by poking

holes in the structure and placing the piece on top.

With MAKE IT you design and build your own tower

by placing blocks in unique ways. Which one do you

PREPARATION:

I. Clear the play space

II. Divide into groups of 1–3 participants, total

number of players can be between 4 and 15

III. Place the cards facing down, sorted by colors.

There are 4 piles in 4 colors and types of cards

(Design, Culture & Traditions, Personal and

Tornado). Set the tornado cards separately, since

they will only be used at the end of the gameIV. If you do not know each other, introduce

yourselves

V. The team with the player whose birthday is the

closest to date starts the game

COMPONENTS:

54 colored and numbered blocks

2 unique dice. One with black and the other withcolored dots

3 sets of 22 question cards (Blue, Red and Yellow)

1 set of 10 black cards (Tornado)

GAME 1: BREAK IT!

The goal is to take blocks out of the tower andrestack them without making the tower fall,

while you learn about each other through

THE PLAY:

1. Place the die with black dots on the table.

2. Place the game box on the table, pull the

bottom lever, and slowly pull up the box to set

the tower on the table. Make sure each layercontains three blocks placed perpendicularly to

the previous layer.

3. Throw the die and it will land on a numberfrom 1–3.

4. Choose a block with a number that correspondsto the one on the die. Using only one hand, pull

or push out that block.

5. Once the block is out, notice the color of theblock and pick a card from the pile with the

same color.

6. Everyone in your team has to answer the questionon the card. If you want to add a challenge, set up

your timer and place a time limit on each turn!

7. Once the question is answered, carefully place

the block on top of the tower.

8. If the tower is still standing, the team sittingto the right plays next. However, if the tower

tumbles draw a card from the “tornado”pile and

the whole group must follow the instructionson that card. You have one minute to complete

the task as a group.

GAME 2: MAKE IT!

The goal is to design and build a unique towerby adding blocks without making the tower fall,

while you learn about each other through

THE PLAY:

1. Place the die with colored dots on the table.

2. Randomly place all the blocks on the table,

within reach distance of every player.

3.

the Team Up tower by using 3 blocks. They may

be placed in any position or direction as long as

the three blocks touch each other and have one

4. The second team rolls the die, it will land on acolor and a number 1–3.

5. Grab a card from the pile with the color shown

on the die and answer the question. If you wantto add a challenge, set up your timer and place

a time limit on each turn!

6. Grab the number of blocks rolled on the die (1–3).

7. Place the blocks on top of the previous blocks,

only the initial three may touch the play surface. The blocks may be placed in any direction or

position (vertical, horizontal, sideways).


tumbles draw a card from the “tornado”

pile and the whole group must follow theinstructions on that card. You have one minute

to complete the task as a gro up.

1. Place the die with colored dots on the table.

2. Randomly place all the blocks on the table,

within reach distance of every player.

3.

the Team Up tower by using 3 blocks. They may

be placed in any position or direction as long as

the three blocks touch each other and have one

4. The second team rolls the die, it will land on acolor and a number 1–3.

5. Grab a card from the pile with the color shown

on the die and answer the question. If you wantto add a challenge, set up your timer and place

a time limit on each turn!

6. Grab the number of blocks rolled on the die (1–3).

7. Place the blocks on top of the previous blocks,

only the initial three may touch the play surface. The blocks may be placed in any direction or

position (vertical, horizontal, sideways).


tumbles draw a card from the “tornado”

pile and the whole group must follow theinstructions on that card. You have one minute

to complete the task as a gro up.

1. Place the die with black dots o n the table.

2. Place the game box on the table, pull the

bottom lever, and slowly pull up the box to set

the tower on the table. Make sure each layercontains three blocks placed perpendicularly to

the previous layer.

3. Throw the die and it will land on a number

from 1–3.

4. Choose a block with a number that correspondsto the one on the die. Using only one hand, pull

or push out that block.

5. Once the block is out, notice the color of theblock and pick a card from the pile with the

same color.

6. Everyone in your team has to answer the question

on the card. If you want to add a challenge, set up

your timer and place a time limit on each turn!

7. Once the question is answered, carefully place

the block on top of the tower.

8. If the tower is still standing, the team sitting

to the right plays next. However, if the tower

tumbles draw a card from the “tornado”pile and

the whole group must follow the instructionson that card. You have one minute to complete

the task as a group.

Clear the play space

Divide into groups of 1–3 participants, total

number of players can be between 4 and 15

Place the cards facing down, sorted by colors.

There are 4 piles in 4 colors and types of cards

(Design, Culture & Traditions, Personal and Tornado). Set the tornado cards separately, since

they will only be used at the end of the game If you do not know each other, introduce

yourselves

The team with the player whose birthday is the

closest to date starts the game

:0 4

8:56

team upinstructions

8 : 5 6

: 0 4

personal

Where do you see yourself

in 5 years?

personal tornado

7 : 0 4

tornado

Rap 5 things you like, make your

partner throw a beat.

Figure 64. N246. L8-9-9


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Figure 65. N246. L8-9-9


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Figure 66. N246. L8-9-9


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Figure 67. N246. L8-9-9


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Figure 68. N246. L8-9-9


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Figure 69. N246. L8-9-9


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Figure 70. L8-:B+92-4 L8-+011C


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Implementation


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STAGE 2 STAGE 3 STAGE 4 STAGE 5

Expand to Faculty

Expand to more card categories and

more dice with additional actions

Expand to team building in DMGT 732

Facilitating Creative Thinking Class

and other DMGT Classes

CURRENT STAGE

PROTOTYPE

APPLICATION

USERS Students

TEAM UP complete

Multicultural exchange in

SDES 704 Applied Theory

in Design Class

Expand to

Gulfstream Community

Expand to other programs

in Gulfstream

Expand to more blocks

with more colors

Expand to

complimentary games

Expand to

General Population

Expand beyond

SCAD

Expand to all SCAD

Community

Expand to

SCAD Community

Expand to multi-faceted

adaptable framework

with tools

FEEDBACK FEEDBACK FEEDBACK FEEDBACK

Figure 71. [email protected] L.64C

Implementation Plan

A,0 :01234 9065 +80690: 6 ;B124011 5-:0. +64E61 9- E21B6.2Q0 9,0 @-112;[email protected] 196301 -/ 9,0 3650 24 9,0 /B9B80C A,0 [email protected] @.64+-B.: ;0 0]0+B90: 24 _ 196301 ;< :0E0.-@243 9,0 3650 24 ^ :2//08049 61@0+91G

prototype, application and users. The nal goal would be to bring the game

9- 9,0 568D09C H4 -8:08 9- [email protected], 9,21O A065 B@ +64 ;0 90190: [email protected] 64: 98641/-850: 9- ;0 B10: 729,24 '()* +-55B429


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Key Partners Key Activities

Key Resources

Revenue StreamsCost Structure

Value Propositions Customer Relationships

Channels

Customer Segments

ManufacturersDistributorsSCAD School of DesignEducation entities

Recreational activity thatenforces team work,collaboration and multiculturalunderstanding

Wooden blocks and diff erenttopic cards, dice and rules tocreate an interactive gameplay

Topic creationQuestions creationExpansion of actual gameNew gameplay optionsResearch and user testing

Creating new and engagingtopicsMix and match within thediff erent topics and games

Ability to create their ownquestionsFree try outsConstant good quality productsBranding

Word of mouthDigital platformSocial mediaMuseum storesDesign product stores

Intellectual property Game development teamVery good customer serviceDigital platform

Materials: woodprinting packaging manufacturing

Sell the nal productCreation of new productsCompany consulting

SCAD StudentsSCAD Faculty SCAD Sta ff Other UniversitiesCreative CompaniesCompanies that want toreinforce team workEntities with multiculturalnature

Figure 72. \B124011 F-:0. (64E61C

Business Model Canvas


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Figure 73. N246. L8-9-9


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Conclusion and Recommendations


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In order to culminate the nal learning from the entire design@8-+011 1@806: -E08 6 @082-: -/ %$ 700D1O 9,0 :01234 906580E21290: 9,0 801068+, YB0192-4G Z-7 523,9 70 .0E08630 9,0

5B.92+B.9B86. 0]@08204+0 69 WB./198065 9- 04,64+0 -B8 +6@6+29< 9- 7-8D 6+8-11 +B.9B801[ A,0 L8-M0+9 N865243 ,0.@0: 24 /-85B.69243 9,21 801068+, YB0192-464: 9,0 P01068+, L.644243 ,0.@0: 24 3624243 24123,91 ;< 249086+9243 729, 196D0,-.:081 24 9,028 806. +-490]9C A,0 :01234 9065 7-8D0:24 64 0:B+692-46. +-490]9 69 WB./198065 729, 19B:0491 64: /6+B.9<505;081 /8-5 :2E0810 +B.9B86. ;6+D38-B4:1C The nal offering Team Up 0E-.E0: 6/908 0]6524243 4B508-B1

2:061O :0E0.-@243 6 108201 -/ @8-9-9


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Figure 74. Cultural Understanding Through Game.

Recommendation

A,0 :01234 9065 80+-5504:1 0]@.-8243 Team Up 61 6 9--. /-85064243/B. 249086+92-4 729,24 :2//08049 38-B@1 69 WB./198065C H9+64 ;0 B10: 9- 7-8D 729, @[email protected] /8-5 :2//08049 :[email protected] 64:

+B.9B801C N6+B.9< 505;081 +64 B10 29 61 6 9065X;B2.:243 9--. /-8:2//08049 +.61101 -8 729,24 /6+B.9< 10112-41C '9B:0491 +64 B10 29 61 6/B4 3650 729, 6::0: 6:E649630 -/ 5064243/B. 0]+,6430 -/ 2:061 729,24 6 38-B@C

).9,-B3, 29 761 -823246..< 24904:0: /-8 5B.92+B.9B86. 90651 9- 7-8Defciently across cultural barriers at Gulfstream, Team Up @8-E2:01a exible framework that can be modied as per user needs. It can;0 0612.< 6:6@90: ;< 5-:2/


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Figures 75. W8-B@ F009243C


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73

References


82/151

74

References

(634-. CP U#$%^O K64B68a^$_`r

198B33.0X/-8X156891X,-7X0619084X64:X7019084X+B.9B801X96+D.0X

.0684243

A,0 W8-E0 (-41B.96491 H49084692-46.C UL8-:B+08VC U#$$aVC A065

Performance Sketchtalk. [URL]. Available from https://www.


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75

A,0 LB8:B0 SIR N652.< -/ '2901 U#$%&VC A,0 I829243 R6; 64: SIR 69

LB8:B0 64: LB8:B0C P09820E0: /8-5 ,[email protected],C@B8:B0C0:Br

-7.r A,20.O )C U#$$aO KB.


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Figure 76. "#$%&'()#*%&+,


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Appendices


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78

Appendix A: Ecosystem Map Development

!"#$ &'$ ("(&()* +$*)&(,"-'(.- /$&0$$" &'$ 1(22$+$"& -3/4$#&-5 )#&(,"-

)"1 -.)#$- 0$+$ (1$"&(2($15 &'$ )+$) 0'$+$ &'$ .+,/*$6 ,##3++$1

0)- ,3& *("$1 )- &'$ 7-#,.$89 :)&$+5 ;+,3.- ,2 +$*)&$1 #,"1(& (,"- 0$+$

-3/'$-$ &,.(#-

("#*31$? @3*&3+)* /)#A;+,3"15 >$)60,+A5 B,+A-.)#$5 @,**)/,+)&(,"5

@,663"(#)&(," )"1 C3*2-&+$)69

Figure 77. D#,-E-&$6 F). G$+-(," H9


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!"# %'()*+,- (.#/0(1 (#. 0)%(2+ 3# )&45/(6#. 5&)*/.

7*,1+0: (/ 5/ #11)&0 0) +(8%,(1- 5/. 2,5&(1- 0"# ,50()/+"(%+

%+#/0 5/. */.#&+05/. 0"#(& "(#&5&2"(#+9

!"# '(+*5,( 650 ()/ 2,#5&,- .#8)/+0&50#+ +)8# ,5 0()/+"(%+:

")3#'#&: 0"# (//#&;3)&


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Appendix A: Ecosystem Map Development (continued)

!"# %'()**+,- .%*+/0 1'%2 ."# /%,'-#,/# 2)*0 3#'# ),)(45#67

/(80.#'#6 ),6 ,829#'#6 .% 6#(%* )66+.+%,)( 0.).#2#,.0:

!"+0 *'%/#00 '#08(.#6 +, ) ,+,#;*)'. 6+)-')2 ."). 0"%30 2)


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!"" $%& '(&)"*++ ,-. $'+,/0 1)'2 3'$% /'-(&).&-/& 2*+0 4&)& *-*"56&7

*-7 /"80$&)&7 $' 7&(&"'+ *77,$,'-*" 0$*$&2&-$0 *-7 98&0$,'-0:

;%,0 +)'/&00 )&08"$&7 ,- * 0,


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Appendix B: Research Questions Matrix

Figure 81. "#$#%&'( )*#$+,-. /%+&,01


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Figures 82. "#$%&$'(%$ #) *+,+(-./ 0'+,%$ 1(%-&23


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Appendix B: Research Questions Matrix (continued)

Figure 83. "#$%&$'(%$ #) *+,+(-./ 0'+,%$ 1(%-&23


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Figures 84. "#$%&$'(%$ #) *+,+(-./ 0'+,%$ 1(%-&23


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Questions for Professors

• !"## %" &'()* +(), "-.",/"01" 23/#" 2 (,4/05 2/*3 6*)7"0*6 8,(%

9&,/"7 1)#*),"6:• ;0 23&* 2&+ 7( +() &77,"66 %)#*/1)#*),/6% (8 *3" 6*)7"0*6

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6*)7"0*6<

• @(2 7( +() &7&.* +(), 1(%%)0/1&*/(0 /0 %)#*/1)#*), 5,().6<

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• How does a exible attitude affect a multicultural team

.",8(,%&01"<

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7/88", 8,(% (*3", .#&1"6<

• C( *3" 2(,46.&1"6 /0 B)#86*,"&% 1(%.#"%"0* *3" &1&7"%/1

,"A)/,"%"0*6< ?3&* 2()#7 +() 13&05" &'()* *3/6 "09/,(0%"0*<

Figures 86. D4"*13 (8 E&1)#*+ F"%'",:


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Transcripts

Interview with Student Yash Rathod

!"## %" &'()* +(), '-.."/* 0,)/*,&*-(1 &'()* *"&% 2(,3-1. 2-*4 5"(5#" 0,(% (*4",6)#*),"/ -1 7)#0/*,"&%8

9*/ 24"1 +() &," *-1. 2-*4 /(%"(1": /-16" *4"+ &," 6(%-1. 0(, ;-00","1* 6)#*),"/:6(%%)1-6&*-(1 -/ & 5,('#"%8 %",-6&1/: 91;-&1/:

I4-1"/": *4&*A/ (1" 5"6)#-&,-*+8 9 4&@" /( /""1 *4&* I4-1"/" 5"(5#" %(@" -1 .,()5/ & #(*8 !4"+ )/)#+ %(@" -1 .,()5/8

H4&* -/ *4" ,"&6*-(1 0,(% +(), 6#&//%&*"/EStudents are specically reacting because of their cultural difference. It might be all work

'&/";: "@",+(1" -/ & /*);"1*8 I)#*)," 4&/ 1"@", '""1 & 5,('#"% '"*2""1 /*);"1*/ &1;

*"&64",/8 V(/*#+ # *4" .,()5/ 9 4&@" 2(,3"; 2-*4 &," %)#*-6)#*), !4-/ -/ *4" (1#+ *-%"*4&* 9 &% 2(,3-1. 2-*4 &1 91;-&18 9*A/ '""1 "K6-*-1. *( 2(,3 -1 %)#*-6)#*), .,()5/8 !4","&," @&,-()/ -1/*&16"/ 24"1 +() 2-## 0&6" 5,('#"%8 9*/ %(," &'()* -1;-@-;)/ %"1*-*+: -*/

1(* *4"-, 6)#*)," *4&* %&3"/ 4-% .((; (, '&;: ,-.4* (, 2,(1.8

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Interview with Student Alejandra Chavarria

!"# #"%&' ("% ')*+,-.) ("%, +%&/%,)01 #"%&' ')*+,-.) 2( +%&/%,) 3* 4),( +&"*)'52-6')'7 1 /8-69 /8)( 3,) 4),( #3,2 :)":&) 36'

()*; 4),( +&"*)'52-6')' :)":&)7

,%*/,3/-"6 3."%/ /)32 #",9-6= #-/8 :)":&) >,"2 "/8),

+%&/%,)* -6 ?%&>*/,)327

1 =%)** 1 +%,,)6/&( 834)6@/ )6+"%6/),)' 36( >,%*/,3/-"6* #",9-6= #-/8 *"2)"6)

>,"2 36"/8), +%&/%,)7 1 =%)** /8) "6&( >,%*/,3/-"6 1 #-&& =)/ -* -> 1 +"%&'6@/ :,":),&(

+"22%6-+3/) #-/8 *"2)"6)7 A"2)/-2)* *"2) "> /8) */%')6/* /8)-, B6=&-*8 -* &-9) 6"/

:,":), 1 =%)**7 C6' 1 +36 /)&& /83/ /8)( 3,) 4),( *23,/ .%/ "%, #3( "> +"22%6-+3/-6= -*

like impeach by the lack of ow in communication.

D"%&' ("% /)&& 2) *"2) 3'436/3=)*01 /8-69 &-9) /8),) 3,) 3 &"/ "> 3'436/3=)*7 E"% =)/ 3 6)# :),*:)+/-4) "6 /8-6=*; "6 -**%)*;

"6 ":-6-"6*; "6 #3(* "> 3::,"3+8-6= /8) #",97 1 >))& &-9) )4),( +%&/%,) 83* -/* "#6 #3( ">

3'',)**-6= #",9 36 ("% +36 ,)3&&( &)3,6 >,"2 /83/7

What characteristics that dene your culture have you been surprised to discover in people

>,"2 "/8), +%&/%,)* 3/ ?%&>*/,)320

1 /8-69 /83/ :)":&) >,"2 2( +%&/%,) 3,) 4),( >,-)6'&( 36' -64-/-6= 36' /8-69 1@4) '-*+"4),)'

/83/ 3 &"/ "> "/8), :)":&) >,"2 "/8), +%&/%,)* 3,) /8) *32)7 %&; 1 >))& &-9) ".4-"%*&( "/8), F3/-6* 3,) 8)&:>%&7 B%,":)36*; 3 &"/ ">

16'-36 36' D8-6)*); C*-36* -6 =)6),3& /8)( 3,) 4),( ":)6 36' 8)&:>%&7 *-2-&3,-/-)*; .%/ 1 3&*" 834) &)3,6)' /83/

/8),) 3,) :)":&) /83/ 2-=8/ 6"/ :),+)-4) /8-6=* /8) #3( /83/ ("% '"7 ", *"2)"6) )&*)7 I3*-+3&&( /83/;

)4),("6) 83* 3 '->>),)6/ :),*:)+/-4) "6 *"2) /8-6=*7 F-9) 23(.) -> /8)-, /),2* 3,)

'->>),)6/ &-9) /8) #3( "> .)-6= /"#3,'* "/8),*; *"2) :)":&) 23( 834) 3 .-==), .3,,-),

/836 "/8),*7 A"2) :)":&) 2-=8/ ,)&3/) /" "/8),* '->>),)6/&(7 I%/ 1 /8-69 -/ -* 3 &*" 3 :3,/ ">

3 &36=%3=) .3,,-),7 J", )G32:&) 2( ,""223/); B&*3; 1 >))& &-9) 3/ /8) .)=-66-6=; B6=&-*8

is our second language, for both of us, and at rst we wouldn’t communicate as much.I%/ /8)6 #) */3,/)' /" *)) /8-6=* /83/ #) 834) -6 +"22"67 A"; 1 ,)3&-K)' /83/ /8) &36=%3=)

.3,,-), -* *"2)/8-6= /83/ -2:)3+8)* 3 &"/ /8) #3( ("% ,)&3/) /" *"2)"6) )&*)7 B4)6 -> ("%

2-=8/ .) 4),( *-2-&3, /" /8)27 F-9) #-/8 B&*3; #) '-*+"4),)' #) &-9)' /8) *32) /8-6=* -6

16*/3=,32 36' 6"# #) 3,) *83,-6= "%, :"*/* #-/8 )3+8 "/8),7 F-9) &-//&) /8-6=* +36 239) 3

.-= '->>),)6+) -6 ')4)&":-6= 3 ,)&3/-"6*8-:7 A" 1 =%)** /83/ -* #83/ 1@4) &)3,6)'7

What cultural characteristics have inuenced your team works?

>),)6/ /" 2)7 I%/; 1 /8-69

Americans are very efcient, like to the point, so I guess that has been different. I did

/8-* :,"L)+/ #-/8 2( >,-)6' M3/-) 36' *8) -* C2),-+36 36' 1 32 F3/-6 36' 1 #3* 2",) &-9)

:%//-6= "%/ -')3* 36' *8) #3* #,-/-6= /8)2 '"#6 36' 239-6= /8)2 2",) &-9) +"6+-*)7 A" -/ #3* &-9) 3 =""' /)32 )G),+-*)7 1 =%)** *"2)"6) #3* 834-6= 3 &"/ "> -')3* 36' *"2)"6) )&*)

#3* ,)3&&( =""' 3/ ",=36-K-6= /8)27

H83/ */,3/)=-)* '" ("% %*) /" 3'3:/ -6 2%&/-+%&/%,3& =,"%: #",90

1 =%)** /8) */,3/)=( /83/ 1 2"*/ %*) -* N,)&3/)3.-&-/(O7 1 '"6@/ /8-69 /83/@* 3 #",'; .%/ 1 >))&

&-9) -> ("% +"%&' &-9) ')4)&": 3 :),*"63& ,)&3/-"6*8-: #-/8 *"2)"6); /8)6 -/@* )3*-), >",

/8)2 /" >))& +"2>",/3.&) 3,"%6' ("% 36' /8),)>", 239)* #",9-6= #-/8 *"2)"6) )3*-),7

1 >))& &-9) -> ("% 2))/ -6 3 :),*"63& &)4)& 3+/%3&&( ("% #-&& &-9) /8) :),*"6 #8" ("% 3,)

#",9-6= #-/87

What particular behaviors do you notice in students from ≠ cultural background?

1 /8-69 /83/ :)":&) >,"2 '->>),)6/ +%&/%,3& .3+9=,"%6'*; /8)( 3(* /)6' /" */-+9 /"=)/8),

or generally they nd it easier to relate to one another if they are from the same cultural

.3+9=,"%6'7 1 3&*" /8-69 >,"2 :),*"63& )G:),-)6+) /83/ /83/@* L%*/ *"2)/8-6= /83/ 8)&:* "%/

at the beginning, but eventually the barriers come down and if you can nd people that

3,) 6"/ 6)+)**3,-&( >,"2 ("%, *32) +%&/%,)7 1 /8-69 /83/ -6 ?%&>*/,)32 1@4) 6"/-+)' /83/

2",) #-/8 C*-36*7 ", F3/-6* -/@* )3*-), /" *:)39 B6=&-*8 .)+3%*) #) 3,) >,"2 /8) #)*/),6 +%&/%,)7

C6' 1 >))& &-9) 3&*" 16'-36* 36' 2-''&) )3*/),6* 3&*"; *"2)/-2)*; -/ '):)6'*7 1/ +"%&' ="

)-/8), #3(7

Appendix C: Interviews (continued)


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Transcripts

Interview with Maximiliano Acevedo

!"# #"%&' ("% ')*+,-.) ("%, +%&/%,)01&2%34*5 6 3%)** &2/)&( *-7+) 689 */%'(-73 -7 27"/4), +"%7/,( 27' 6 42:) 2 &"/ "; -7' "; +%&/%,)* -7 ("%, /)29 27' /4)(

2'2 6 /4-7> -* /4) 92-7 /"7"# #) 2,) "%/*-') "; "%,

+"%7/,-)*= -* #2( 9",) )A) /" '" 2* 2 /)29 ", /42/ /4)( '" .)//), /4-73* /427

("% '" 27' 6 J%*/ &)2,7 ;,"9 /42/


L>= *" 6 /4-7> &->) 2 &"/ "; H*-27 +%&/%,)* 6 42:) &)2,7)' 4"# 9%+4 ')/2-& /4)( /" &-*/)7 /" /4)9 27' /" %7'),*/27' /4)9= /,( /" %7'),*/27' /4)9 ,)2&&( #)&&

K42/ -**%)* '" ("% )7+"%7/), #4-&) )A0

6 /4-7> 9( &273%23) 9",) /427 27(/4-73 27' *"9)/-9)* "; +"%,*) *-7+) )73&-*4 -* 9(

*)+"7' &273%23) -/* 42,' ;", 9) /" )A7"#

6 7):), /4"%34/ 2."%/ /42/B C4)( 7"# 27(/4-73 2."%/ /4)9 *" -; /4)( '" *"9)/4-73

/42/ ("% 2,) 7"/ %*)' /" -* 3"-73 /" .) 42,' .%/ 6 /4-7> 6 42:) &)2,7)' 4"# /" '" -/ 27'

/4)7 ("% J%*/

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Interview with Student Numploy Yanasiddhi

!"## %" &'()* +(), '-.."/* 0,)/*,&*-(1 &'()* *"&% 2(,3-1. 2-*4 5"(5#" 0,(% (*4",6)#*),"/ -1 7)#0/*,"&%8

9*/ 4&,: *( )1:",/*&1: /(%" 6)#*),"/; &1: '"6&)/" 0,(% %+ 6)#*)," -/ *(*#+ :-00","1*

0,(% *4-/ 6)#*),"; &1: *4"," -/ :-5",-"16"; '"6&)/" 0(, ">&%5#" #&/* F)&,*",

2&/ ,"#+ 4&,: 0(, %"; 9 4&: *( &/3 *4"% 0(, 4"#5 # *4" *-%"; &1: +() 31(2 *4"+ 2",","#+ 0,-"1:#+8

What particular behaviors do you notice in students from ≠ cultural background?

9 31(2 /(%" 64-1"/" 5"(5#"; '"6&)/" 9 /*):-": CDE 2-*4 *4"% &1: *4"+ &," *(1/ (0

64-1"/" *4&* /*):+ 4"," &1: *4" # /5"&3 *(."*4",; *4"+ :(1* 2&1* *( ."* 0,(% *4"-,

6(%0(,* I(1"; +() 31(2 #-3" *4"+ 2&1* *( * 2-*4 *4"%; *4"+ &," 1(* (5"1 *( (*4",/ &1:

-*/ 4&,: *( *"## *4"%; *4&* 9 2&1*": *( * 2-*4 *4"%; +() 31(2 &1: -/ 2&/ ,"#+ 4&,:; +()

31(2 '"6&)/" # %+ 6#&//%&*"/ -1 CDE &," 64-1"/"; &1: *4"+ # /5"&3 64-1"/"; &1: 9 6&1*

)1:",/*&1: &* #; ')* /(%" (0 *4"% &," ,"#+ 1-6"; ')* 9 *4-13 %(/* (0 *4"% 2&1* *( /*-63

together, and I nd that annoying sometimes, because I can not understand them at a ll

24"1 *4"+ /5"&3 64-1"/"; &1: 9 :(1* #-3" *4" 2&+ *4&* *4"+ /*-63 *(."*4", &1: * 91 *4"

/&%" #&1.)&."; D( 24+ *4"+ /5"1* /( %)64 %(1"+ *( /*):+ 4","=

J&5",-"16" (0 2(,3-1. -1 & .,()5 (0 5"(5#" 2-*4 :-


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Transcripts

Interview with Eli Zcheng

!"## %" &'()* +(), '-.."/* 0,)/*,&*-(1 &'()* *"&% 2(,3-1. 2-*4 5"(5#" 0,(% (*4",6)#*),"/ -1 7)#0/*,"&%8

9 *4-13 -* %-.4* '" #&*" (, &'/"1* 0(, .,()5 %""*-1. 2-*4()* &66"5*&'#" ,"&/(1/8 9*:/ %(,"

#-3" & 5",/(1 *4-1. -1/*"&; (0 6)#*),


0,(% (*4", 6)#*),"/ &* 7)#0/*,"&%<

9 &% 1(* /),"8 9:=" 1"=", ;-/6)//"; *4-/ 2-*4 &1+ (0 %+ .,()5 %"%'",/8 >":=" 1"=", /&-;

*4-1./ #-3" +() &," 0,(% *4-/ 6()1*,+ *4"1 +() %)/* '" #-3" '&'&48 9*:/ /*","(*+5" &1;

/(%"*-%"/ ,&6-/*8 ?)* (1" *4-1. 9 ;-; 0()1; -/ *4"+ # #-3" @4-1"/" 0((;8 A&4&8 B"/*",;&+

9 4&; & %""*-1. 2-*4 %+ .,()5 &* %+ 4()/" &1; 9 6((3"; @4-1"/" 0((; 0(, *4"%8 !4"+ #

2"1* 6,&C+8 !4"+ #(=" %+ 6((3-1.8 !4"+ *4-13 *4&*:/ ," @4-1"/" 0((;8 9* ;-; /),5,-/" %"

*4&* *4"+ # -1*","/*"; -1 (), 0((;8

>4&* 4&=" +() #"&,1"; 0,(% %)#*-6)#*), "D5",-"16"/<

Maybe language. When you work with native speaker you will nd they are more efcient

'"6&)/" *4"+ ;(1:* 4&=" #&1.)&." '&,,-",8 ?)* 9 &% 1(* /)," *4-/ -/ &'()* 6)#*)," (, 1(*8 9

E)/* 0"#* #-3" #&1.)&." -/ *4" *4-1. 9 ;-; #"&,1 0,(% (*4", 6)#*),"8


9 0""# #-3" +() .)+/ &," *-1. &'()* /*","(*+5"/8 F()1;/ #-3" -0 +() &," 0,(% @4-1& *4"1

+() %)/* '" G)-"* -1 .,()5 2(,3 &1; *,+ *( 4&,%(1-C" "=",+*4-1.8 9 0""# & #-**#" 2"-,;8 9

;(1:* &.,"" 2-*4 *4-/ G)"/*-(1 -*/"#08 H/ 9 /&-; -1 .,()5 2(,3-1.I -*:/ %(," 5",/(1 *4&1

6)#*), &/ 0&, &/ 9 ('/",=";8 !4-13 &'()* 24"1 2" 2"," -1 @4-1&8 !4"," %-.4* '" JK

/*);"1*/ -1 (1" 6#&// &1; *4"+ &," # ;-00","1*8

>4&* /*,&*".-"/ ;( +() )/" *( &;&5* -1 %)#*-6)#*), .,()5 2(,3<

L(1"8 90 +() &/3 %" 24&* /*,&*".-"/ 9 )/"; *( &;&5* H%",-6&1 0((; 9 %&+ 4&=" /(%"*4-1.

*( /&+8 ?)* 9 ;(1:* 0""# #-3" 9 )/"; &1+ /*,&*".-"/ *( &;&5* %)#*-6)#*), .,()5 2(,38

>4&* -//)"/ ;( +() "16()1*", 24-#" "D5,"//-1. &1; )1;",/*&1;-1. -;"&/ -1 %)#*-6)#*),

.,()5 2(,3<

9 ;(1:* 4&=" &1+8

91 +(), (21 "D5",-"16"I 4(2 %&1+ %"%'",/ 6&1 & . ,()5 ,"&64 '"0(," -* /*(5/ '"-1.

"00"6*-="&/ -* ,"#&*"; *( *4" %)#*-6)#*), '&63.,()1;/<

I do have one. My rst quarter in SCAD I was in a group with an Indian guy, and he was

/( #&C+ &1; -,,"/5(1/-'#"8 A" %(/* 6&)/"; (), . ,()5 5,(E"6* 0&-#";8 A" ;-; .-=" %" &

,"#+ '&; -%&." &'()* 91;-&1/8 ?)* &0*", *4&* 24"1 9 2(,3"; 2-*4 /(%" (*4", 91;-&1/I 9

0()1; *4"+ &," 1(* #-3" 4-% &* #8 F( -* -/ & 5",/(1 *4-1.8

A(2 &'()* & .((; "D5",-"16"<

9* %-.4* '" #&/* G)&,*", 2-*4 P-3"8 A":/ H%",-6&1 &1; 4" *((3 %" *( '&,/ &1; 4"#5"; %"

lled in American culture. But he had been to China, it’s reasonable he feel comfortable

2-*4 @4-1"/" /*);"1*/8 L(* # H%",-6&1 /*);"1*/ ;-; *4&* /( 9 ;(1:* 0""# #-3" -* ,"#&*";

*( %)#*-6)#*), '&63.,()1;8 91 &1(*4", 2(,;I 9 &55,"6-&*" P-3" &/ & 5",/(1 1(* &/ &1

H%",-6&18

How does a exible attitude affects a multicultural team performance?

9 ;(1:* 31(28



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Transcripts

Interview with Student Oscar Elmendorf

!"## %" &'()* +(), '-.."/* 0,)/*,&*-(1 &'()* *"&% 2(,3-1. 2-*4 5"(5#" 0,(% (*4",6)#*),"/ -1 7)#0/*,"&%8

9 :(1;* *4-13 9;5",-"16"8 K-3" # *4"

:-00","1* 6)#*),"/W C0,-6&1B C/-&1B K&*-1 C%",-6&18 !4" (1#+ 5"(5#" *4&* :(1;* 6(%" ()*

exible would be American, I will say that. There are Americans that come in non-exible

and leave non-exible. So, from your American standpoint, what do you feel is the general

24&* :( +() 0""# (, 4"&, *4&* -/ *4" &**-*):" *(2&,:/ -1*",1&*-(1 /*):"1*/?

K-3"B 0,(% &1 C%",-6&1 5",/5"6*-


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Transcripts

Interview with Professor Bill Lee

!"#$ &' ()*+ ,-+.-,$&)/ $"&/0 #1)*$ .*2$*+-34*2$*+- $) 5-6 &$7' # 5#0- *, )8 */9-+'$#/9&/:' $"&/:' #/9 9-'&+-'6 &/$-+-'$ ;&/ ')5-


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Interview with Professor Luke Xia

!"##$%& ()*%&)+&",- .$ /+0$ 1"(($)$-& %&*1$-&% 2,3$ (),3 1"(($)$-& 45+2$%67 &/$)$ "% + %&*1$-& (),3 82*+1,)7

!$2+*%$ .$ .$)$ .,)9"-# ,- :,,9"-# &,4"27 ;/$- .$ %&+)&$1 (),3 )$%$+)2/ +-1 5,,9"-#

(,) "-%"#/& +-1 &/+&777)"#/&< =, &/$ 4),>5$3 .+%777&/$? 1,-@& )$+55? 2,,9 "- 82*+1,)7 =, "&

>$2+3$ 5"9$ A /+0$ -$0$) $B4$)"$-2$1 &/+& >$(,)$7


(),3 ,&/$) 2*5&*)$% +& CD;<

E%"+- %&*1$-&% +)$ 4)+2&"2+5 +-1 .$%&$)- %&*1$-&% +)$ 3,)$ "1$+57

F,. 1, ?,* +1+4& ?,*) 2,33*-"2+&",- "- 3*5&"2*5&*)+5 #),*4%<

Stay rm. Doing what I think it is right to do to teach.

G/+& 2*5&*)+5 >$/+0",)+5 4+&&$)-% 2+- >$ -,&"2$1

&/$ .+? ,( 5"($ "% 9"-1 ,( 1"(($)$-&H 5"9$ E%"+- "% /+0"-# 3,)$ /+)%/ 5"($67(,) $B+345$ .$

have to nish job in time. But I feel that, I’m not saying it is bad, but this kind of relaxing

+&&"&*1$ "% &,, 3*2/6 777I$,45$ (),3 =,*&/ E3$)"2+ ($$5% 3,)$ 2/"557

=&)+&$#? &, +1+4& "- 3*5&"2*5&*)+5 #),*4

J%$ "2,-% )+&/$) &/+- *%"-# .,)1% %, $0$)?>,1? 2+- *-1$)%&+-17

When he feels culture conict

=&*1$-&% +)$ >$"-# &,, -"2$ &, $+2/ ,&/$)H +-1 &/$? 1, -,& 5$+)- (),3 "&7

K$%4$2&"-# /*3+-L)"#/& &,, 3*2/ /$)$7

:,33*-"2+&",-

A 1,-@& /+0$ +-? 4),>5$3 ."&/ 2,33*-"2+&",-H "( " 1"1-@& 2,33*-"2+&$H "& 3$+-% %"345? "

1,-@& .+-& &, 2,33*-"2+&$7

8-0"),-3$-&

G$ -$$1 3,)$ 25,%$1 25+%%),,37 =, +55 &/$ -,"%$ +)$ >5,29$17

E5%,H 3,)$ %4+2$ &, 9$$4 3+&$)"+5%7 =&*1$-&% %/,*51 /+0$ 3,)$ ()$$1,3 ,( *%"-# 1"(($)$-&

3+&$)"+5%H %*2/ +% 25+?%7 M(,) "1 %&*1$-&%N



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Transcripts

Interview with International Student Services Off ice

(ISSO)

!" $%&' $&( )* +,-'./,-',0&- 12310.1"/14 &' 5678 ).9910 90*+ *'%10 3-&/14:;,-'./,-',0&- 12310.1"/14 ).9910 ." +&"( $&(4 &' 5678 -( +,-'./,-',0&-

$1 &01? 01&J104 '%&' &01 +,-'./,-',0&- ." "&',01? '*


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99

Appendix D: Survey Questions

! #$ %$& '()* +$ ,$-) (. /&'+(01&'+&-2' +*2/34 5 6*37$

! 89 :(;*. 2 1(9% %$&- 1&'+&-2' A*


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100

Appendix E: AEIOU

Forms

Figure 88–89. "#$%& '()*+ " ,-. #/


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101

Forms

Figures 90–91. "#$%& '()*+ $ ,-. %/

Appendix E: AEIOU (continued)


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102


Forms

Figure 92. "#$%& '()*+ &,


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104

Analysis

Gallery & Fishbowl


Figure 94. "#$%&'(' )* +,%*'-./$0 +$%%/.& $#1 2('34)5% 6'(#7 "89:6;


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105

Analysis

Kitchen

Figures 95. "#$%&'(' )* +,%*'-./$0 1(-23/# 4'(#5 "67849


114/151


115/151

Appendix F: POEMS


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108

pp

Forms

Figure 98. "#$%& '()* +() &,-.(/0123


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109

Forms

Figures 99. "#$%&'()*+ ,$--( .$*/ %-( 01*2-34/56

Appendix F: POEMS (continued)


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110

Forms

Figure 100. "#$%& '()* +() &,-.(/0123


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111

Forms

Figures 101. "#$%&'()*+ ,$--( .$*/ %-( 01*2-34/56

Appendix G: Cultural Probe


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112

Graphic

Figure 102. "#$%#&'$ (&)*+ ,&'-./01


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113

Picture

Figures 103. "#$$%$& '#()#*+( ,*-./0

Appendix G: Cultural Probe


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114

Picture

Figure 104. "#$%#&'$ (&)*+ ,+-#$%-.


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115

Analysis

Figures 105. "#$%#&'$ (&)*+ ,-'$./0/1

Appendix G: Cultural Probe (continued)


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116

Analysis

Figure 106. "#$%#&'$ (&)*+ ,-'$./0/ 1")-%0-#+234


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117

Analysis

Figures 107. "#$%#&'$ (&)*+ ,-'$./0/ 1")-%0-#+234



126/151

118

Analysis

Figure 108. "#$%#&'$ (&)*+ ,-'$./0/ 1")-%0-#+234


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119

Analysis

Figures 109. "#$%#&'$ (&)*+ ,-'$./0/ 1")-%0-#+234



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120

Analysis

Figure 110. "#$%#&'$ (&)*+ ,-'$./0/ 1")-%0-#+234


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121

Analysis

Figures 111. "#$%#&'$ (&)*+ ,-'$./0/ 1")-%0-#+234



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122

Analysis

Figure 112. "#$%#&'$ (&)*+ ,-'$./0/ 1")-%0-#+234

Appendix H: Consent Forms


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123

Figures 113–114. "#$%&$' (#)*%+

Appendix H: Consent Forms (continued)


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124

Figures 115–116. "#$%&$' (#)*%+


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125

Figures 117–118. "#$%&$' (#)*%+



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126

Figures 119–120. "#$%&$' (#)*%+


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127

Figures 121–122. "#$%&$' (#)*%+



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128

Figures 119–120. "#$%&$' (#)*%+


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129

Figures 121–122. "#$%&$' (#)*%+



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130

Figures 119–120. "#$%&$' (#)*%+


139/151

131

Figures 121–122. "#$%&$' (#)*%+



140/151

132

Figures 123–124. "#$%&$' (#)*%+


141/151

133

Figures 125–126. "#$%&$' (#)*%+



142/151

134

Figures 127–128. "#$%&$' (#)*%+


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135

Figures 129–130. "#$%&$' (#)*%+


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137

YELLOW / Personal

! #$%& '()*+ ,- .-( /*)&01 &- 2$*/0 2-34*156 '0'703) 708-30)&%3&*15 % 53-(9 93-:0+&6• ;- .-( $%


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138

Figure 139. Afnity Process for Interviews.


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139

List of Figures

Table of Figures

!"#$%& () *+,& -%././01&

" =(!"#$%& ?3)


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140

!"#$%& () *+,& -%././01& 22222222222222222222222222222222222222222222222222222222222222222222222222222

!"#$%& 3) 45/&%".% .6 *$768/%&+, 9:;..7 .6 ;& ",&7"5& 2222222222222222222222222222222222222222222222222222222222222

!"#$%& (E) F:.808/&, G+1 B.%C 9&88".5 2222222222222222222222222222222222222222222222222222

!"#$%& (H) I117"&J >;&.%0 "5 &+, -%.:&88"5# 456.%,+/".5 22222222222222222222222222222222222222

!"#$%& 3=) P&55 &+, G&&/"5# +/ !.U0 V.U0 2222222222222222222222222222222222222222222222222222222

Figure 31: Interview Afnity Process ..........................................................

!"#$%& =3) 9;+J.R"5# &8/"5#) FN&5/ 22222222222222222222222222222222222222222222222222222222

!"#$%& ?H) K.5:&1/ >&8/"5#) 91+:& 22222222222222222222222222222222222222222222222222222222

!"#$%& ?L) K.5:&1/ >&8/"5#) G$8": 2222222222222222222222222222222222222222222222222222222

!"#$%& AO) K.5:&1/ >&8/"5#) *+,&8 222222222222222222222222222222222222222222222222222222

!"#$%& A() *+,& >&8/"5# +/ FN&5/ 22222222222222222222222222222222222222222222222222222222

!"#$%& A3) -%././01& &8/"5# 222222222222222222222222222222222222222222222222222222222222222222

!"#$%& DO) T8&% 45/&%+:/".5 R"/; -%././01& 22222222222222222222222222222222222222222

!"#$%& D() -+"58[ *+"58[ +5J 458"#;/8 6%., T8&% >&8/"5# 2222222222222222222

!"#$%& D3) !"5+7 -%././01& 2222222222222222222222222222222222222222222222222222222222222222222222

!"#$%& D=) !"5+7 -%././01& 2222222222222222222222222222222222222222222222222222222222222222222222

!"#$%& D?) !"5+7 -%././01&) K+%J8 +5J 458/%$:/".58 222222222222222222222222222

!"#$%& DA) !"5+7 -%././01& 2222222222222222222222222222222222222222222222222222222222222222222222

!"#$%& DD) !"5+7 -%././01&) ]7.:C8 22222222222222222222222222222222222222222222222222222222

!"#$%& DE) !"5+7 -%././01&)


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