A VISUAL IDENTITY

FOR AN ORGANISATION THAT AIMS TO

IMPROVE THE INTEGRATION OF

TURKISH IMMIGRANTS

IN GERMANY.

 

ANA MONICA ISLAS PONCE

 

23/AUGUST/2011

 

Table of Contents

       I.            Executive Summary

1. Introduction
2. Methodology
3. Outcomes
4. References
5. Appendices

 

 

        I.            Executive Summary. The purpose for undertaking the design of a visual identity for an organisation that aims to improve the integraion of turkish immigrants.

 

The Turkish immigrants are the largest group of immigrants in Germany. The basis for this project is to find out how visual identity could reflect a desire for change and an inspiration for integration.

In order to understand this a visual identity for “36 boys”(organization of turkish immigrants in berlin) will be created based on street art that not only conveys a strong image but is also specific and unique to the group. As a result I have developed a flexible identity based on principle and rules such as integration, interculturalism and coexistence.

I have structured my findings around Graphic design and data visualization as the means to achieve a place in the society the result is a series of graphic pieces such as:

1. Visual identity that give Turkish immigrants recognition
2. Gazette named “wirsind” (meaning “we are” in German language) to communicate the values of this group and will give them a better way to express their culture and their identity more effectively.

 

3. Info graphic. showing the levels of integrations of Turkish society with the use of 3D typographic form and different materials to make the viewer get a substantial understanding of the message. This piece offers an opportunity to explore a different representation in data visualization by contributing to the integrated betterment of this specific group.

 

AIMS & OBJECTIVES

 

1. To critically analyze and authenciate the situation of Turkish immigrants in Germany and the background of “36 boys gang” in Berlin.

• Research and analysis of the integration of the Turks into the German society
• Research history and of “36 boys” and gangs in Berlin
• Interview with members of “36 boys” organization in Berlin
• Observation, description and analysis of behavior and interaction of Turkish people with German society
• Testing with hijab (head covering for Muslim women)

2. To establish the impact of street culture on urban influence

• Research and analyse street art in Berlin
• Photography archive graffiti in Berlin

3. To create a strong and specific visual identity for “36 boys” based on analytical interpretation of data collected

• Interview with ONLAB (graphic design studio based in Berlin) to obtain advice and information regarding to visual identity and street art in Berlin
• Review literature about visual identity
• Research typography for creating the logotype
• develop and generate preliminary visual identity

4. to subject the identity to validation through critical analysis of the aesthetic qualities of the created logotype

• Trip to Berlin to get feedback from the users and get professional advice from ONLAB
• Develop gazette and info graphic

 

Background to the design contextualization of the study

A third of all children born in Germany belong to the Turkish immigrants. The Turks live in Germany and have no real political recognition as a part of the German society. The social and economic problems they face are considerd to be the problems of “the Turks, the migrants,” but are rarely addressed as social problems within the German society.

 

Most of the Turks believed that they would eventually leave Germany and return to their families, but kept on delaying due to the economic and political situation in Turkey. Initially the “guest workers” were expected to live together in domitories near the factories they worked but they soon moved out and into cheap apartments in neighborhoods near the factories. Interaction with the Germans was made difficult by the fact that in the factories that the Turks worked and interpreter would be employed, making learning German seem unnecessary.

 

The Berlin Institute for Population and Development study showed that the Turkish immigrants living in Germany are less effectively integrated on average than other immigrant groups. They are poorly educated, underpaid and unemployed. The reason could be attributed to the illusion by both the Turks and Germans that the Turks were just guest workers and would eventually go back to Turkey.

(source: SPIEGEL ONLINE INTERNATIONAL, news site in Germany, By Katrin Elger,

The focus of this research is a case study of a gang group known as the 36 Boys, a youth group that was formed among the German immigrant. This gang operataed in the streets of Berlin in the late 1980s until the mid 1990s. Reacting to the harassment in the streets of Berlin within the Turkish area of Kreuzber 36, a group of young men trained in martial arts decided to fight back. Conversly, the 36 boys discovered that they could use their strength to engage in other vices such as drug trafficking and robbery without being pursued by the authority (Burgat& Esposito 2003).

 

This gang degenerated into a revered gang which wrecked havoc in this part of Berlin. They formed their identity through the graffiti that they distributed throughout Berlin. Furthermore, they demarcated their area of influence using the street art or graffiti in order to guard them from their enemy gangs. This gang eventually disintegrated , some remained in the criminal milieu and others were Berlin senate employed to prevent delinquency within the Kruezberg area. This served to catapult them into different areas and activities.

Owing to the fact that the culture of street art has been connoted to be associated with the negativity within the society. This has been occasioned by the fact that most people view street culture to be uncultured and uncivilized.

 

This form of visual art has become fundamental to the cultural transformation of political discourse, social interaction and cultural identity that characterizes the post modern condition (Jameson, 1984, 1991). Based on this, the immediacy of street art and their visual attributes enhance memorability consequently making this form of art to become a very powerful form of communication and art (Freedman 2003). In Berlin for instance, street art based on the element of its visual culture has been reported to attract attention from international street artists since the reunification of the city, making it one of Europe’s street art strongholds (Robinson & Heitman 2011).

 

The ghetto culture has been on the fore front in Germany towards the enhancement of the visual culture. For instance, in Germany, as it was elsewhere in the 1980s, there were youth gangs which largely emanated from the ghettos. These gangs were considered to be disconnected from the larger society in terms of values therefore they were not considered to be here nor there. They were said to be concerned with the introduction of cultures that were controversial to the values of the day. During this period, Germany experienced cultural transformation which was associated to the immigrants from countries such as Turkey who were the main dwellers of the ghettos. Gang graffiti covered walls and subway cars, and youth groups with “cool” names such as the 36 Boys, Red Cobs, Black panthers and Fighters proliferated in Berlin and then spread to other cities amid enthusiastic media attention and serious debates on youth violence (Sherrod 2006). Sheldon further asserts that these subcultures were responsible for the informal culture industries which were characterized with street festivals, youth centres, immigrant associations which were new phenomena among both the German and Turkish youths (p. 333).

 

Owing to the fact the street culture has been connoted to be associated with negative ghetto culture, what stands out is that there are areas where it has been utilized to enhance positivity. In most cases, the people who are attracted to this form of street engagement belong to certain age group. This is because these young men can get or obtain a form of identity depending on which side of the divide they find themselves in. If the right attitudes and behaviours are not inculcated into these young minds then they tend to look elsewhere for the purposes of seeking that connection. Gary notes, “far from being a culture that is to be shied away from or ignored, the vibrancy of many of its elements can help to powerfully engage boys and the youth and lead them to see their educational experience as far more real and positive” (p. 90). Thus it can be said that visual art provides a platform that explores identitiy and presonal expression through expanding one’s perception of the world rather than closing it down through boundaries and stereotypes.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 1: The Research Process – important issues to be considered at the start of the research

Carole Gray and Julian Malins, (2004)., Visualizing Research: A Guide to the Research Process in Art and Design. (Ashgate Publishing Limited, UK, USA)

 

Establishing ways in which street art and the visual art can be utilized to create favourable visual identity

 

Preliminary information gathering is undertaken through observation, interviews and latter analysis of data collected.

This enables us to acquire a picture database of street art in Berlin and Turkish area (Kreuzberg) in Berlin. This is followed up with interviews with Turkish immigrants (with an ex integrant of 36 boys) nowadays director of this organization regarding background of Turkish immigrant people and actual situation in Berlin.

On my first trip to Berlin, I met Murat Karaman (33 years old), a Turkish man now naturalized German, Murat grew up in Kreuzberg where the “36 boy” gang were born. He told me that the gang was quite violent owing to the fact that he was part of the gang. He claimed that during those days there was inequality and there was no integration with the Germans. In addition the Turkish people still do not have equal opportunities when it came to school and employment. Consequently he and a group of other Turkish people want to form an organization with the old gangs name (36 boys) to raise awaness and change the negative image it had once created and crate a positive visual identity. This will serve as a way to promote social values like integration,equality and cooperation to the German society.

 

interview with onlab (graphic design studio based in berlin) to obtain advice regarding to visual identity and street art in berlin, and operates around a single philosophy: that design is a narrative that can change how people approach the world.

My second interview was with Nicolas Bourquin and Thibaud Tissot, founders of ONLAB. ONLAB specializes in grephic design and has a compelling story. Based in Berlin, it works with both the clients and creates its own books and operates around a single philosopy; that design is a narrative that can change how people approach the world. They provided insight as to how to manage the project by recommending that I create an inpographic showing levels of integration of the Turkish immigrants in Germany .

In conclusion, on observation of behavior and interaction of Turkish immigrants with the German society, I would say that they seem to be intergrated into society since there is no racism or xenophobic reactions they seem to interact well. However, the Turkish are still not recognized politically and socially in German society and seek to be recognized as constituent and permanent part of Germany

Case studies and their analytical interpretation

As a result, the exercise managed to acquire relevant material for the creation of the visual identity for 36 boys , an informational piece with the background and actual situation of Turkish population, promoting the integration of both societies.

Bunnell drew on Miles and Huberman’s (1994, pp. 10–12) definition of analysis as

‘three concurrent flows of activity’ – data reduction, data display, and conclusion

drawing. She used two ‘sieves’ or ‘filters’ – criteria relating to the benefits and limitations

of using new technology in designer-maker practice – as a means of reducing the data

and bringing some order to it. Concurrent with this she began mapping, grouping and

relating the data by means of visual displays. Tentative conclusions as to the effectiveness of integrating new technology into practice were proposed through interrogating the actual body of experimental work. More developed conclusions emerged through concentrating on three different examples of resolved work. Other completed formal research in Art and Design provide examples of different

analytical strategies, for example:

• using corroboration between three sets of outcomes – from practice, from student

projects, and from ‘expert’ participation;

• a series of interviews with commissioners/clients, ‘expert’ designers, users, as well as

the designer-researcher’s own critical evaluations;

• site-specific artworks as ‘cases’ involving the feedback of all the participants in the

research – architects, users of buildings, commissioners, and the critical analysis of

the artist researcher.

Within a case study many different methods may be used, for example:

Interview, a key method in seeking the particular opinions of others about an identified

research topic. A purposeful conversation initiated by the interviewer and

focused by him/her on content specified by research objectives.

Context for use in case study research where a particular and in-depth view is required; helpful in the exploratory stages of research to elicit views, identify variables, important

factors as a method of structuring further research.

 

Advantages were that it was a good way of finding out a person’s values, preferences, attitudes, beliefs and feelings; opportunity for direct verbal interaction, encouraging in-depth response – a discursive method, can be done at a distance using telephone or

internet ‘chat’ tools.

 

However, the disadvantages were that it could be prone to subjectivity and bias (leading questions!); the setting for the interview can influence the quality of the responses, for example formal or informal; time-consuming (event itself and transcription); if recording tools and notes are not used the interviewer could have poor recall.

 

OUTCOMES

 

• This logotype seeks to create an identity for the gang (36 boys) based on the principles such as integration, inter-culturalism and coexiestence. Notice the different fonts (based on research of street art typography) used and suit perfectly with the needs of the organization. I also used the overlapping and multilayered typography to communicate union through diffent fonts or “culture” as well to promote tolerance and equality which are embedded in this logo since all the letters are in the same level. The logo expresses strength, energy, activity, movement, evolution and inter-cultural.

In Art and Design then the criteria for evaluation and analysis should focus on, for instance, the user-friendliness, the problems/challenges that emerge for users, the benefits and limitation, and the impact of the media on practitioners’ working processes and products.

 

 

• Gazette named “wir sind” (which means “we are” in German language) was published in order to communicate the values of this group and will give them a better way to express their culture and their identity more efficiently.

 

• Info graphic. showing the levels of integrations of Turkish society with the use of 3D typographic form and different materials to make the viewer get a substantial understanding of the message. this piece offers an opportunity to explore a different representation in data visualization by contributing to the integrated betterment of this specific group.

 

How to adequately address the question of visual identity

Visual identity is the overall impression of organizations and personalities which is projected through we hear, see or smell about them. All these things make up concept known as visual identity.

Angus Hyland, Emily king (2006)., visual identity and branding for the arts.

A professionally managed visual identity must understant the elements that create a unique identity that differentiates it from other organisations. It should support and project institutional cohesion and efficacy. Development of the identity should be structured in a manner that facilitates the building of reputation through the association of achievements and values to the organisaion. The system should monitor and manage the identity since if neglected it will be to the detriment of the organisation but if managed and developed it becomes an asset(http://www.cardiff.ac.uk/identity/.

 

The concept of identity is studied in many different fields and from many perspectives. The concept of visual identity, however, is quite distinct, and is a concept most closely aligned with the communication discipline. This is a compelling point, since the importance of visual identity needs to be understood throughout the organization as a component of the organization´s success. In order to gain a positive organizational image in the minds of the public. A positive identity is established in order to gain a favorable reputation over time. More practically speaking, an organization´s visual identity includes all of the observable and measurable elements of the organization´s identity manifest in its comprehensive visual presentation of itself, including but not limited to its name, logo, tagline, color palette, and architecture. Visual identity also includes the organization´s public behavior, including but no limited to its reception of employees, customers, shareholders and suppliers.

Susan Westcott Alessandri, Visual Identity: Promoting and Protecting the Public Face of an Organization. M.E. Sharpe. (2009)

 

References

 

Angus Hyland, Emily king (2006)., Visual identity and branding for the arts. (Laurence King Publishing, UK)

Bunnell, K. (1998)., The Integration of New Technology into Designer-maker Practice. (PhD thesis, The Robert Gordon University.)

Burgat & Esposito (2003)., Modernizing Islam: religion in the public sphere in the Middle East and Europe.( Rutgers University Press, New Brunswick, New Jersey)

Carole Gray and Julian Malins, (2004)., Visualizing Research: A Guide to the Research Process in Art and Design. (Ashgate Publishing Limited, UK, USA)

Chaffe, L.,( 1993)., Political Protest and Street art:Popular tools for democratization in Hispanic countries, (Chaffe,Lyman edn, Greenword Publishing Group, Westport, CT)

Eksner (2007)., Eksner, J (2007), Ghetto ideologies, youth identities and stylized Turkish German:Turrkish youths in Berlin, (LIT Verlag Munster, Berlin.)

Jameson, (1984, 1991)., Postmodernism, or, The cultural logic of late capitalism. (Duke University Press)

Katrin Elger, Ansbert Kneip and Merlind Theile,, SPIEGEL ONLINE INTERNATIONAL, news site in Germany, , 01/26/2010(http://www.spiegel.de/international/)

Matthew B. Miles and A. Michael Huberman, (1994)., Qualitative Data Analysis: An Expanded Sourcebook(2nd Edition) (Sage Publications)

Robinson, P & Heitman, PD., ( 2011)., Research themes for tourism, (CABI, London.)

Salt and Clout, (1976)., Migration in Post-War Europe: Geographical Essay.(Oxford University Press)

Sherrod, L( 2006)., Youth activism:In international encyclopedia, Illustrated edn, (Greenwood Plublishing, Group, New York.)

Susan Westcott Alessandri (2009)., Visual Identity: Promoting and Protecting the Public Face of an Organization, (M.E. Sharpe)

Zimmermann, Klaus, F.; Bonin, Holger; Fahr, Rene; Hinte, Holger?( 2007)., Immigration Policy and the Labor Market: The German Experience and Lessons for Europe (Springer)

 

COMMENTS:

• The red color is all I had written or provided you with my own research and sources
• The blue colour is what you added to the paper. IN WORD COUNT IS 46O WORDS WICH IS NOT EVEN THE THIRD FIFTH PART OR THE ESSAY
• You just synthesized cutting paragraphs.
• YOU DIDNT CHANGE MY LANGUAGE (IN THE DESCRIPTIONS FOR METHODOLOGY)
• I provided you with all the information needed in order you could focus on ANALYSIS and DESCRIPTION OF METHODOLOGY.
• THIS PAPER LACKS OF ANALYSIS THAT IS WHAT I NEEDED MOST.
• YOU DIDNT ADD NEW SOURCES, you didnt do extra research at all.
• Remember this is a paper for MASTER degree level.

 

 

1. Executive Summary
2. Introduction

• Methodology

1. Outcomes
2. References
3. Appendices

• critical evaluation of my methods:

– their appropriateness to my project,

– their relationship with each other

– contextualisation of my methods, to discuss WHAT I HAVE DROWN FROM THE OTHERS AND WHAT I HAVE ACHIEVED BEYOND OTHERS.

This is the part where you had to describe the outcomes and critically evaluate my research project:

• in terms of aims and objectives,
• in terms of methodology, and
• in terms of the intended professional context: what is the value of my outcomes in your professional context?