Digital_Fabrication_Studio.01 discusses the media ecosystem, platforms, and business models for digital fabrication, open design, and DIY projects. It describes how magazines like Wired and Make promote these fields. Platforms discussed include Etsy, Ponoko, and Shapeways for selling projects, as well as GitHub for coding. Crowdfunding platforms like Kickstarter and Indiegogo are also covered. The document notes that while open source is important, projects still need market relevance. Successful businesses in this field like MakerBot and 3D Systems are highlighted. The growing market for 3D printing and how various players are positioned is summarized.
SXSW artist meets hacker how technology is changing the artsDevon Smith
Artists have always been at the forefront of defining the culture of the day, how we communicate with each other and about ourselves. Until the rise of Silicon Valley. Where Plato's Academy used to be the ultimate place of learning, mentoring, and making, now it's Y Combinator. Stravinsky's concerts started riots, now Twitter helps quell them. Picasso's cubism changed how we saw the world, now that honor belongs to the likes of Google and MakerBot.
And yet artists are making phenomenal works of art using the very bits of technology that have in large part supplanted their role of kingmaker/culturemaker. So what happens when dancers use 3D imaging, opera companies make mobile apps, museums turn to GitHub, & robots become actors? This session will explore more than one hundred case studies of artists and arts organizations using (and in some cases, failing to use) technology to comment on society, to make your neighborhood a better place to live, and to run their business.
Video: https://youtu.be/cS_hDbzFiLs
Artists have always been at the forefront of defining the culture of the day, how we communicate with each other and about ourselves. Until the rise of Silicon Valley. Where Plato's Academy used to be the ultimate place of learning, mentoring, and making, now it's Y Combinator. Stravinsky's concerts started riots, now Twitter helps quell them. Picasso's cubism changed how we saw the world, now that honor belongs to the likes of Google and MakerBot.
And yet artists are making phenomenal works of art using the very bits of technology that have in large part supplanted their role of kingmaker/culturemaker. So what happens when dancers use 3D imaging, opera companies make mobile apps, museums turn to GitHub, & robots become actors? This session will explore more than one hundred case studies of artists and arts organizations using (and in some cases, failing to use) technology to comment on society, to make your neighborhood a better place to live, and to run their business.
From Prosumer to Produser: Understanding User-Led Content CreationAxel Bruns
Paper presented at Transforming Audiences conference, London, 3-4 Sep. 2009.
Abstract:
Alvin Toffler’s image of the prosumer (1970, 1980, 1990) continues to influence in a significant way our understanding of the user-led, collaborative processes of content creation which are today labelled “social media” or “Web 2.0”. A closer look at Toffler’s own description of his prosumer model reveals, however, that it remains firmly grounded in the mass media age: the prosumer is clearly not the self-motivated creative originator and developer of new content which can today be observed in projects ranging from open source software through Wikipedia to Second Life, but simply a particularly well-informed, and therefore both particularly critical and particularly active, consumer. The highly specialised, high end consumers which exist in areas such as hi-fi or car culture are far more representative of the ideal prosumer than the participants in non-commercial (or as yet non-commercial) collaborative projects. And to expect Toffler’s 1970s model of the prosumer to describe these 21st-century phenomena was always an unrealistic expectation, of course.
To describe the creative and collaborative participation which today characterises user-led projects such as Wikipedia, terms such as ‘production’ and ‘consumption’ are no longer particularly useful – even in laboured constructions such as ‘commons-based peer-production’ (Benkler 2006) or ‘p2p production’ (Bauwens 2005). In the user communities participating in such forms of content creation, roles as consumers and users have long begun to be inextricably interwoven with those as producer and creator: users are always already also able to be producers of the shared information collection, regardless of whether they are aware of that fact – they have taken on a new, hybrid role which may be best described as that of a produser (Bruns 2008). Projects which build on such produsage can be found in areas from open source software development through citizen journalism to Wikipedia, and beyond this also in multi-user online computer games, filesharing, and even in communities collaborating on the design of material goods. While addressing a range of different challenges, they nonetheless build on a small number of universal key principles. This paper documents these principles and indicates the possible implications of this transition from production and prosumption to produsage.
References:
Bauwens, Michel. (2005, 15 June) “Peer to Peer and Human Evolution.” Integral Visioning. http://integralvisioning.org/article.php?story=p2ptheory1 (accessed 1 Mar. 2007).
Benkler, Yochai. (2006) The Wealth of Networks: How Social Production Transforms Markets and Freedom. New Haven, Conn.: Yale University Press.
Bruns, Axel. (2008) Blogs, Wikipedia, Second Life, and Beyond: From Production to Produsage. New York: Peter Lang.
Toffler, Alvin. (1970) Future Shock. New York: Random House.
———. (1980) The Third Wave. New York: Bantam.
———. (1990) Powershift: Knowledge, Wealth, and Violence at the Edge of the 21st Century. New York: Bantam.
SXSW artist meets hacker how technology is changing the artsDevon Smith
Artists have always been at the forefront of defining the culture of the day, how we communicate with each other and about ourselves. Until the rise of Silicon Valley. Where Plato's Academy used to be the ultimate place of learning, mentoring, and making, now it's Y Combinator. Stravinsky's concerts started riots, now Twitter helps quell them. Picasso's cubism changed how we saw the world, now that honor belongs to the likes of Google and MakerBot.
And yet artists are making phenomenal works of art using the very bits of technology that have in large part supplanted their role of kingmaker/culturemaker. So what happens when dancers use 3D imaging, opera companies make mobile apps, museums turn to GitHub, & robots become actors? This session will explore more than one hundred case studies of artists and arts organizations using (and in some cases, failing to use) technology to comment on society, to make your neighborhood a better place to live, and to run their business.
Video: https://youtu.be/cS_hDbzFiLs
Artists have always been at the forefront of defining the culture of the day, how we communicate with each other and about ourselves. Until the rise of Silicon Valley. Where Plato's Academy used to be the ultimate place of learning, mentoring, and making, now it's Y Combinator. Stravinsky's concerts started riots, now Twitter helps quell them. Picasso's cubism changed how we saw the world, now that honor belongs to the likes of Google and MakerBot.
And yet artists are making phenomenal works of art using the very bits of technology that have in large part supplanted their role of kingmaker/culturemaker. So what happens when dancers use 3D imaging, opera companies make mobile apps, museums turn to GitHub, & robots become actors? This session will explore more than one hundred case studies of artists and arts organizations using (and in some cases, failing to use) technology to comment on society, to make your neighborhood a better place to live, and to run their business.
From Prosumer to Produser: Understanding User-Led Content CreationAxel Bruns
Paper presented at Transforming Audiences conference, London, 3-4 Sep. 2009.
Abstract:
Alvin Toffler’s image of the prosumer (1970, 1980, 1990) continues to influence in a significant way our understanding of the user-led, collaborative processes of content creation which are today labelled “social media” or “Web 2.0”. A closer look at Toffler’s own description of his prosumer model reveals, however, that it remains firmly grounded in the mass media age: the prosumer is clearly not the self-motivated creative originator and developer of new content which can today be observed in projects ranging from open source software through Wikipedia to Second Life, but simply a particularly well-informed, and therefore both particularly critical and particularly active, consumer. The highly specialised, high end consumers which exist in areas such as hi-fi or car culture are far more representative of the ideal prosumer than the participants in non-commercial (or as yet non-commercial) collaborative projects. And to expect Toffler’s 1970s model of the prosumer to describe these 21st-century phenomena was always an unrealistic expectation, of course.
To describe the creative and collaborative participation which today characterises user-led projects such as Wikipedia, terms such as ‘production’ and ‘consumption’ are no longer particularly useful – even in laboured constructions such as ‘commons-based peer-production’ (Benkler 2006) or ‘p2p production’ (Bauwens 2005). In the user communities participating in such forms of content creation, roles as consumers and users have long begun to be inextricably interwoven with those as producer and creator: users are always already also able to be producers of the shared information collection, regardless of whether they are aware of that fact – they have taken on a new, hybrid role which may be best described as that of a produser (Bruns 2008). Projects which build on such produsage can be found in areas from open source software development through citizen journalism to Wikipedia, and beyond this also in multi-user online computer games, filesharing, and even in communities collaborating on the design of material goods. While addressing a range of different challenges, they nonetheless build on a small number of universal key principles. This paper documents these principles and indicates the possible implications of this transition from production and prosumption to produsage.
References:
Bauwens, Michel. (2005, 15 June) “Peer to Peer and Human Evolution.” Integral Visioning. http://integralvisioning.org/article.php?story=p2ptheory1 (accessed 1 Mar. 2007).
Benkler, Yochai. (2006) The Wealth of Networks: How Social Production Transforms Markets and Freedom. New Haven, Conn.: Yale University Press.
Bruns, Axel. (2008) Blogs, Wikipedia, Second Life, and Beyond: From Production to Produsage. New York: Peter Lang.
Toffler, Alvin. (1970) Future Shock. New York: Random House.
———. (1980) The Third Wave. New York: Bantam.
———. (1990) Powershift: Knowledge, Wealth, and Violence at the Edge of the 21st Century. New York: Bantam.
Digital Fabrication Studio.01 _Fabbing @ Aalto Media FactoryMassimo Menichinelli
DIGITAL FABRICATION STUDIO (25438)
The course provides a general understanding on how to design and manufacture products and prototypes in a Fab Lab, using digital fabrication technologies and understanding their features and limits.
Students will learn how information shapes design, manufacturing and collaboration processes and artifacts in a Fab Lab. They will learn how to digitally fabricate a project or how to digitally modify an existing project; students will also learn how to manage, embed and retrieve information about a project. Projects and prototypes developed and manufactured in this course will not be interactive.
The course consists of lectures and a group project to be digitally fabricated, be it a project already designed but not yet realized or be it the modification of an existing project. Every lecture (3 hours) includes time for testing the technologies covered (1 hour) and for developing part of the group project and for receiving feedback about it (1 hour).
http://mlab.taik.fi/studies/courses/course?id=1963
Digital Fabrication Studio.06 _3D_PrintingScanning @ Aalto Media FactoryMassimo Menichinelli
DIGITAL FABRICATION STUDIO (25438)
The course provides a general understanding on how to design and manufacture products and prototypes in a Fab Lab, using digital fabrication technologies and understanding their features and limits.
Students will learn how information shapes design, manufacturing and collaboration processes and artifacts in a Fab Lab. They will learn how to digitally fabricate a project or how to digitally modify an existing project; students will also learn how to manage, embed and retrieve information about a project. Projects and prototypes developed and manufactured in this course will not be interactive.
The course consists of lectures and a group project to be digitally fabricated, be it a project already designed but not yet realized or be it the modification of an existing project. Every lecture (3 hours) includes time for testing the technologies covered (1 hour) and for developing part of the group project and for receiving feedback about it (1 hour).
http://mlab.taik.fi/studies/courses/course?id=1963
Which are the possible business models for Open projects like Open Design and Open Hardware? And what about running a Fab Lab or a similar place? Which strategies can we adopt in order to have successful DIY
Craft projects? People that want to organize collaborative spaces or companies need to think about how to run their business in a sustainable way, but even single or groups of Open Designers could get more insights for their project if they discover the possible business models. Let's have a look at the existing markets, the common business models and the possible future scenarios.
Space Radiation Superconductive Shield (SR2S) is an EU funded FP7 project which is researching new technology to protect astronauts in space from radiation. On 9th April 2014 in Torino, Italy, SR2S held their first conference to give an update on the project so far.
www.sr2s.eu
Twitter - @SR2SMars
About KUKA Robotics
KUKA Robotics is an innovator in robotics technology. We are among the leading suppliers and manufactures of robotic systems worldwide. We offer a unique and wide range of industrial robots and robotic systems, including all common payload categories and types.
Here at KUKA, we’re dedicated to being one of the world’s leading suppliers of robotics, as well as plant and systems engineering. Our robot technology ensures consistent high quality for capital goods and consumer products from a vast range of different sectors.
KUKA Robotics Products
With our wide range of products, KUKA has all the essentials for your industry’s automation projects. Our product lines vary from:
Small robots
Robots with low, medium, and high payloads
Heavy-duty robots
Customized robots
KUKA’s powerful control technology can be tailored to specific requirements of your system. Changing production requirements or completely new production tasks is easily adapted with the expansion options of KUKA controllers.
KUKA Robotics Benefits Your Industry
KUKA has been proven to increase quality, efficiency, and profitability in a wide range of industries like:
Aerospace
Automotive
Agricultural
Energy
Rail & Freight
Consumer Goods
With our promise to deliver industry-leading quality, creativity, dynamism and innovation we can guarantee a complete robotic solution that’s tailored exactly to your requirements.
Digital Fabrication Studio.05 _CNC_Milling.Molding.Casting @ Aalto Media FactoryMassimo Menichinelli
DIGITAL FABRICATION STUDIO (25438)
The course provides a general understanding on how to design and manufacture products and prototypes in a Fab Lab, using digital fabrication technologies and understanding their features and limits.
Students will learn how information shapes design, manufacturing and collaboration processes and artifacts in a Fab Lab. They will learn how to digitally fabricate a project or how to digitally modify an existing project; students will also learn how to manage, embed and retrieve information about a project. Projects and prototypes developed and manufactured in this course will not be interactive.
The course consists of lectures and a group project to be digitally fabricated, be it a project already designed but not yet realized or be it the modification of an existing project. Every lecture (3 hours) includes time for testing the technologies covered (1 hour) and for developing part of the group project and for receiving feedback about it (1 hour).
http://mlab.taik.fi/studies/courses/course?id=1963
Digital Fabrication Studio.03 _Software @ Aalto Media FactoryMassimo Menichinelli
DIGITAL FABRICATION STUDIO (25438)
The course provides a general understanding on how to design and manufacture products and prototypes in a Fab Lab, using digital fabrication technologies and understanding their features and limits.
Students will learn how information shapes design, manufacturing and collaboration processes and artifacts in a Fab Lab. They will learn how to digitally fabricate a project or how to digitally modify an existing project; students will also learn how to manage, embed and retrieve information about a project. Projects and prototypes developed and manufactured in this course will not be interactive.
The course consists of lectures and a group project to be digitally fabricated, be it a project already designed but not yet realized or be it the modification of an existing project. Every lecture (3 hours) includes time for testing the technologies covered (1 hour) and for developing part of the group project and for receiving feedback about it (1 hour).
http://mlab.taik.fi/studies/courses/course?id=1963
La fabbricazione digitale o Digital Fabrication, nasce come evoluzione della produzione industriale affiancandosi ad essa per i mercati ad alta flessibilità e personalizzazione. In questa lezione vediamo una sintesi di delle ragioni che hanno spinto alla nascita della digital fabrication e alcuni strumenti essenziali al suo sviluppo.
Fab Labs and Digital Fabrication by Wolf JeschonnekCodemotion
3D printing is a very popular subject nowadays and is often referred to as the next industrial revolution. But this revolution is proclaimed more by its observers than by its practitioners.
The real revolution lies is the more fundamental principle of machines that are capable of turning data into things and things into data.
Fab Labs
The concept of a Fab Lab is to empower people to solve local and personal problems with Digital Fabrication technologies by providing them with a low-threshold access to the technology and a safe place for experiments an development.
A talk at the Sloan School of Management, MIT on RepRap and the democratization of Fabrication Technology and emergence of open hardware communities.
Innovation Lab meeting organized by Professor von Hippel.
Digital Fabrication Studio.01 _Fabbing @ Aalto Media FactoryMassimo Menichinelli
DIGITAL FABRICATION STUDIO (25438)
The course provides a general understanding on how to design and manufacture products and prototypes in a Fab Lab, using digital fabrication technologies and understanding their features and limits.
Students will learn how information shapes design, manufacturing and collaboration processes and artifacts in a Fab Lab. They will learn how to digitally fabricate a project or how to digitally modify an existing project; students will also learn how to manage, embed and retrieve information about a project. Projects and prototypes developed and manufactured in this course will not be interactive.
The course consists of lectures and a group project to be digitally fabricated, be it a project already designed but not yet realized or be it the modification of an existing project. Every lecture (3 hours) includes time for testing the technologies covered (1 hour) and for developing part of the group project and for receiving feedback about it (1 hour).
http://mlab.taik.fi/studies/courses/course?id=1963
Digital Fabrication Studio.06 _3D_PrintingScanning @ Aalto Media FactoryMassimo Menichinelli
DIGITAL FABRICATION STUDIO (25438)
The course provides a general understanding on how to design and manufacture products and prototypes in a Fab Lab, using digital fabrication technologies and understanding their features and limits.
Students will learn how information shapes design, manufacturing and collaboration processes and artifacts in a Fab Lab. They will learn how to digitally fabricate a project or how to digitally modify an existing project; students will also learn how to manage, embed and retrieve information about a project. Projects and prototypes developed and manufactured in this course will not be interactive.
The course consists of lectures and a group project to be digitally fabricated, be it a project already designed but not yet realized or be it the modification of an existing project. Every lecture (3 hours) includes time for testing the technologies covered (1 hour) and for developing part of the group project and for receiving feedback about it (1 hour).
http://mlab.taik.fi/studies/courses/course?id=1963
Which are the possible business models for Open projects like Open Design and Open Hardware? And what about running a Fab Lab or a similar place? Which strategies can we adopt in order to have successful DIY
Craft projects? People that want to organize collaborative spaces or companies need to think about how to run their business in a sustainable way, but even single or groups of Open Designers could get more insights for their project if they discover the possible business models. Let's have a look at the existing markets, the common business models and the possible future scenarios.
Space Radiation Superconductive Shield (SR2S) is an EU funded FP7 project which is researching new technology to protect astronauts in space from radiation. On 9th April 2014 in Torino, Italy, SR2S held their first conference to give an update on the project so far.
www.sr2s.eu
Twitter - @SR2SMars
About KUKA Robotics
KUKA Robotics is an innovator in robotics technology. We are among the leading suppliers and manufactures of robotic systems worldwide. We offer a unique and wide range of industrial robots and robotic systems, including all common payload categories and types.
Here at KUKA, we’re dedicated to being one of the world’s leading suppliers of robotics, as well as plant and systems engineering. Our robot technology ensures consistent high quality for capital goods and consumer products from a vast range of different sectors.
KUKA Robotics Products
With our wide range of products, KUKA has all the essentials for your industry’s automation projects. Our product lines vary from:
Small robots
Robots with low, medium, and high payloads
Heavy-duty robots
Customized robots
KUKA’s powerful control technology can be tailored to specific requirements of your system. Changing production requirements or completely new production tasks is easily adapted with the expansion options of KUKA controllers.
KUKA Robotics Benefits Your Industry
KUKA has been proven to increase quality, efficiency, and profitability in a wide range of industries like:
Aerospace
Automotive
Agricultural
Energy
Rail & Freight
Consumer Goods
With our promise to deliver industry-leading quality, creativity, dynamism and innovation we can guarantee a complete robotic solution that’s tailored exactly to your requirements.
Digital Fabrication Studio.05 _CNC_Milling.Molding.Casting @ Aalto Media FactoryMassimo Menichinelli
DIGITAL FABRICATION STUDIO (25438)
The course provides a general understanding on how to design and manufacture products and prototypes in a Fab Lab, using digital fabrication technologies and understanding their features and limits.
Students will learn how information shapes design, manufacturing and collaboration processes and artifacts in a Fab Lab. They will learn how to digitally fabricate a project or how to digitally modify an existing project; students will also learn how to manage, embed and retrieve information about a project. Projects and prototypes developed and manufactured in this course will not be interactive.
The course consists of lectures and a group project to be digitally fabricated, be it a project already designed but not yet realized or be it the modification of an existing project. Every lecture (3 hours) includes time for testing the technologies covered (1 hour) and for developing part of the group project and for receiving feedback about it (1 hour).
http://mlab.taik.fi/studies/courses/course?id=1963
Digital Fabrication Studio.03 _Software @ Aalto Media FactoryMassimo Menichinelli
DIGITAL FABRICATION STUDIO (25438)
The course provides a general understanding on how to design and manufacture products and prototypes in a Fab Lab, using digital fabrication technologies and understanding their features and limits.
Students will learn how information shapes design, manufacturing and collaboration processes and artifacts in a Fab Lab. They will learn how to digitally fabricate a project or how to digitally modify an existing project; students will also learn how to manage, embed and retrieve information about a project. Projects and prototypes developed and manufactured in this course will not be interactive.
The course consists of lectures and a group project to be digitally fabricated, be it a project already designed but not yet realized or be it the modification of an existing project. Every lecture (3 hours) includes time for testing the technologies covered (1 hour) and for developing part of the group project and for receiving feedback about it (1 hour).
http://mlab.taik.fi/studies/courses/course?id=1963
La fabbricazione digitale o Digital Fabrication, nasce come evoluzione della produzione industriale affiancandosi ad essa per i mercati ad alta flessibilità e personalizzazione. In questa lezione vediamo una sintesi di delle ragioni che hanno spinto alla nascita della digital fabrication e alcuni strumenti essenziali al suo sviluppo.
Fab Labs and Digital Fabrication by Wolf JeschonnekCodemotion
3D printing is a very popular subject nowadays and is often referred to as the next industrial revolution. But this revolution is proclaimed more by its observers than by its practitioners.
The real revolution lies is the more fundamental principle of machines that are capable of turning data into things and things into data.
Fab Labs
The concept of a Fab Lab is to empower people to solve local and personal problems with Digital Fabrication technologies by providing them with a low-threshold access to the technology and a safe place for experiments an development.
A talk at the Sloan School of Management, MIT on RepRap and the democratization of Fabrication Technology and emergence of open hardware communities.
Innovation Lab meeting organized by Professor von Hippel.
Artificial Intelligence in Fashion, Beauty and related Creative industriesPetteriTeikariPhD
Quick introduction for artificial intelligence / deep learning applications in fashion, beauty and creative industries.
Alternative download link: https://dl.dropboxusercontent.com/u/6757026/slideShare/creativeAI.pdf
講師簡介:
林佑澂 創辦人│未來產房
Daniel Lin is the founder and CEO of FutureWard. He is a genetic engineer, educator, producer, entrepreneur, and bridge builder who is passionate about activating the innovation and startup ecosystems in Taiwan and connecting it to the rest of the world. He started one of the largest and most comprehensive makerspaces in Asia in 2014, and is now leading the strategic relationships with corporations, associations, and local governments to harness Taiwan's technical and manufacturing expertise to help solve intractable problems at FutureWard's Central coworking space.In an earlier life, Dan was conducting cancer research at Johns Hopkins Medical School, managing laboratories and testing immunotherapies. Upon his return to Taiwan, he segued into education. Writing and editing textbooks and testing programs before developing an English language learning program on TVBS. Before founding FutureWard, Dan was the international business development officer for Panel Group.
Session 1/8. Introduction. The Strategic Content Alliance, JISC sponsored workshops on Maximising Online Resource Effectiveness, held on different occasions throughout 2010 and delivered by Netskills.
BIMA Breakfast Briefing | Making the most of the 'maker revolution.' Speakers slides.
If consumers are on their way to producing products quickly and cheaply from home thanks to new technologies, what does this mean for agencies and brands?
Andy Huntington (Interaction Designer & Hardware Producer at BERG) slides accompanied his talk with his approach to the topic – ‘The maker movement puts power in to the hands of the people.’
DRIVE 2017 | 25 October - VALUE CREATION - Business Innovation CLICKNL
Design Roadmapping; Future Visioning for Organisational Innovation
Design roadmapping – future visioning carried out by strategic designers – shapes manager’s perceptions of the ‘imaginable’; in ways that have concrete implications for decision-making and for the allocation of resources on innovation. This lecture investigates the role of vision imagination, creation and realization in design roadmapping for design innovation in organizations.
Speaker: Dr. ir. Lianne W.L. Simonse
Open Innovation for the Internet of Things
Successful open product platforms for the Internet of Things can benefit from the creativity of the crowd. At the same time, it is challenging for platform owners to, for example, maintain control over the user experience. In this talk, Susan illustrates her latest academic research with a case study of the Philips Hue.
Speaker: Susan Hilbolling
Energy efficiency business models: Fit to serve?
Most new business propositions are formed around a product-service combination. In energy efficiency, however, business models are still mainly product solutions, as shown in recent research by Duneworks and Ideate. Such ‘unfit’ business models might be the cause for a slow market uptake; in this talk Renske illustrates how to change that.
Speakers: Renske Bouwknegt, Ruth Mourik
Business Model Innovation by 3D Print Entrepreneurs
The business models of 3D print entrepreneurs consist of activities related to the creation, distribution, retention and consumption of value, but also of information exchange within their communities. In this study, Peter sheds light on how 3D print entrepreneurs share and exchange goods, services and knowledge as peers.
Speaker: Peter Troxler
3D digital modelling and 3D printing: the case for using Anarkik3D's 3D haptic Cloud9 sketch/modelling software to assess these technologies for the non CAD user, the artist, applied artist, designer markers and all creative people.
BA 453 Business Strategy & Planning Spring 2014 1 .docxikirkton
BA 453: Business Strategy & Planning | Spring 2014 1
Case D: MakerBot
Your Mission
You have been hired by Bre Pettis, CEO of MakerBot, as the newest member of their strategic
planning team. Meet Bre through this video: http://www.engadget.com/2013/09/20/bre-pettis/
The recent acquisition of MakerBot by Stratasys has changed everything compared to its
beginnings as an entrepreneurial start-up. Mr. Pettis would like you to offer – or validate – the
strategic direction for his innovative 3D printing company MakerBot. Who should the MakerBot
become? A manufacturer? A retailer? A technology facilitator? Does our school program make
sense?
Mr. Pettis asks you to accomplish the following:
• Summarize your assessment of MakerBot’s current situation by discussing the
opportunities and challenges of being on the cutting edge of this technology.
• Integrate Porter’s Five Forces, the PESTL Analysis and other applicable class
content into your executive brief to clearly communicate and support your
findings.
• State and define a strategic direction that provides focus for MakerBot.
• Describe the actions steps to implement your recommendations.
Mr. Pettis encourages you to visit MakerBot’s website to learn more about the organization and
its products at www.makerbot.com.
He expects you to use the template format for your executive brief that is no more than 1,200
words.
In addition to handing hard copy in at the beginning of class
on the due date assigned, please submit it to associated Safe Assignment link.
http://www.engadget.com/2013/09/20/bre-pettis/
http://www.makerbot.com/
BA 453: Business Strategy & Planning | Spring 2014 2
Case D: MakerBot
Its physical presence appears in the glass box from nothing. No one was touching it and no other
tools were visible. It just slowly, gradually, and almost magically appears.
View this video to see MakerBot’s latest product in action:
http://www.youtube.com/watch?v=AKTSdW7-H3Q
3D Printing
Additive manufacturing, also referred to as three-dimensional or 3D printing, is a process of
making a three-dimensional solid object of virtually any shape from a digital model. 3D printing
is achieved using an additive process where successive layers of material are laid down in
different shapes. 3D printing is also considered distinct from traditional machining techniques,
which mostly rely on the “subtractive processes” of removing material by methods such as
cutting or drilling. A 3D printer is a limited type of industrial robot that is capable of carrying out
an additive process under computer control.
Additive manufacturing takes virtual blueprints from computer aided design (CAD) or animation
modeling software and “slices” them into digital cross-sections for the machine to successively
use as a guideline for printing. Depending on the machine used, material or a binding material is
deposited on the build bed or platform until m ...
"Open and collaborative design processes. Meta-Design, ontologies and platforms within the Maker Movement"
Doctoral defense @Aalto University 11.11.2020
Custos: Professor Lily Diaz-Kommonen, Aalto University, Department of Media, Aalto Media Lab
Opponent: Professor Elisa Giaccardi, Delft University of Technology, The Netherlands
The emergence of the Maker Movement has taken place in the context of a design practice and research that is now open, peer-to-peer, diffuse, distributed, decentralized; activity-based; meta-designed; ontologically-defined; locally-bounded but globally-networked and community-centered. For many years the author participated and worked in the Maker Movement, with a special focus on its usage of digital platforms and digital fabrication tools for collaboratively designing and manufacturing digital and physical artifacts as Open Design projects. The author’s main focus in practice and research as a meta-designer was in understanding how can participants in distributed systems collaboratively work together through tools and platforms for the designing and managing of collaborative processes. The main research question of this dissertation is: How can we support and integrate the research and practice of meta-designers in analyzing, designing and sharing open and collaborative design and making processes within open, peer-to-peer and distributed systems?
Press release: https://www.aalto.fi/en/events/defense-in-the-field-of-new-media-msc-massimo-menichinelli
Video: https://youtu.be/ZYSCcIG0Q6k
Dissertation: http://urn.fi/URN:ISBN:978-952-64-0091-4
Research On And Through Design With Open, Distributed And Collaborative Desig...Massimo Menichinelli
Massimo Menichinelli
"Research On And Through Design With Open, Distributed And Collaborative Design Processes Within The Maker Movement"
08/11/2019
https://www.designsociety.org/939/Symposium+on+Design+Theory+and+Innovation
Platforms, Networks And Impact Of Open, Distributed And Collaborative Design ...Massimo Menichinelli
Massimo Menichinelli
"Platforms, Networks And Impact Of Open, Distributed And Collaborative Design And Making Processes"
Tongji University - Shanghai
19/11/2019
The Decentralization Turns In Design: An Exploration Through The Maker Moveme...Massimo Menichinelli
Massimo Menichinelli
Priscilla Ferronato
"The Decentralization Turns In Design: An Exploration Through The Maker Movement"
DeSForm19 - MIT Design Lab
10/10/2019
The challenges posed by the complexity of our times requires the Design discipline to understand the many complex relationships behind the social, business, technology and territory dimensions of each project. Such nature of complex systems lays not only inside design projects, but also inside the design processes that generate them, and the ability of organizing them through meta-design approaches is becoming strategic. Since the turn of the century, the design discipline has increasingly moved its scope from single users to local and online communities, from isolated projects to system of solutions. This shift has brought researchers and practitioners to investigate tools and strategies to enable mass- scale interactions by adopting several models and tools coming from software development and web-based technologies: Open Source, P2P, DDD (Diffuse, Distributed, and Decentralized) systems. This influence has matured over the years, and if we observed in the past how such systemic models can be applied in the design practice (part 1), we are facing now a new phase where Design will have an increasing role in enabling such systems through the analysis, visualization and design of their collaborative tools, platforms, processes and organizations (part 2). This scope falls into the Meta-Design domain, where designers build environments for the collaborative design of open processes and their resulting organizations (part 3). In this paper, we address this phenomena by elaborating the Open Meta-Design framework (part 4), that provides a way for designing open, collaborative and distributed processes (including those in the professional design domain). The paper positions the framework among current meta-design and design approaches and develops its features of modeling, analysis, management and visualization of processes. This framework is based on four dimensions: conceptual (describing the philosophy, context and limitations of the approach), data (describing the ontology of design processes), design (visualizing designing processes) and software (managing the connections between the ontology and the visualization, the data and design dimensions). We believe that such a framework could potentially facilitate the participation and the creation of open, collaborative and distributed processes, enabling therefore more relevant interactions for communities. As a conclusion, the paper provides a roadmap for developing and testing the Open Meta-Design framework, and therefore evaluating its relevance in supporting complex projects (part 5).
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4. Wired
A monthly American magazine and on-line periodical (since 1993) that reports on
how new and developing technology affects culture, the economy, and politics.
Source: http://www.wired.com/
5. DIYDrones from Chris Anderson (Wired)
Funded in 2007, a store and an online community with 26,000 members.
Source: http://diydrones.com/ + https://store.diydrones.com/
http://diydrones.com/profiles/blogs/tour-of-the-new-3d-robotics-factory
6. DIYDrones from Chris Anderson (Wired)
The role of Media in promoting DIY projects ...
Source: http://www.wired.com/dangerroom/2012/06/ff_drones
7. “Makers” from Chris Anderson
Not only magazine, but also books...
Source: http://www.amazon.com/Makers-The-New-Industrial-Revolution/dp/0307720950/
8. O'Reilly Media: Make
An American media company (since 1978) that publishes books and Web sites and
produces conferences on computer technology topics.
Source: http://oreilly.com/
9. Make: a magazine
An American quarterly magazine published by O'Reilly Media which focuses on do
it yourself (DIY) and/or DIWO (Do It With Others) projects.
Source: http://makezine.com/magazine/ + http://make-digital.com/make/
11. Make: an online store
Beside the magazine...
Source: http://www.makershed.com/
12. Make: a series of local faires
Beside the magazine ...
Source: http://makerfaire.com/
13. Make: a series of local faires
Beside the magazine ...
Source: http://makerfaire.com/map.csp
14. Make: a TV / online series
Make: television is a television show produced by Twin Cities Public Television and
hosted by John Edgar Park which premiered in January 2009 on PBS stations.
Source: http://makezine.tv/
15. Make: a controller kit
Make teamed up with MakingThings, LLC, to produce the Make Controller Kit, an
open hardware solution to create interactive applications.
Source: http://www.makershed.com/product_p/mkmt3.htm
16. Make: Craft
A quarterly magazine published by O'Reilly Media which focused on do it yourself
(DIY) projects like knitting, sewing, jewelry, metalworking, woodworking, until 2009.
Source: http://blog.makezine.com/craftzine/ http://en.wikipedia.org/wiki/Craft_(magazine)
17. Makerbot TV
An online TV show produced by Makerbot, for promoting their 3D printers.
Source: http://makerbot.tv/
18. Makerbot TV
An online TV show produced by Makerbot, for promoting their 3D printers.
Source: http://makerbot.tv/LtHr/makerbot-tv-launch-episode/
19. Thingiverse (from Makerbot)
A website for sharing 3D digital fles that can be printed (with Makerbot printers).
Source: http://www.thingiverse.com/thing:29258
21. A platform
= an extremely valuable and powerful ecosystem that quickly
and easily scales,morphs,and incorporates new features (called
planks), users, customers, vendors, and partners.
The most vibrant platforms embrace third-party collaboration.
The companies behind these platforms seek to foster symbiotic
and mutually benefcial relationships with users,customers,
partners,vendors,developers,and the community at large.At
their core,platforms today are primarily about consumer utility
and communications.
Simon, P. (2011). The Age of the Platform: How Amazon, Apple, Facebook, and Google
Have Redefined Business. Motion Publishing.
22. A platform
Simon, P. (2011). The Age of the Platform: How Amazon, Apple, Facebook, and Google
Have Redefined Business. Motion Publishing.
23. Etsy: a DIY / Crafts marketplace
The biggest marketplace for your
DIY / Crafts projects.
Source: http://www.etsy.com/
24. Etsy: a platform for DIY
With also open API for interacting with the platform!
Source: http://www.etsy.com/developers?ref=ft_dev
25. Etsy: a platform for DIY
Source: http://www.youtube.com/watch?v=RmXJXYHnWPo
The biggest marketplace for your
DIY / Crafts projects.
26. Blomming: another platform for DIY
Source: http://blomming.com/
A platform for embedding your e-
commerce store in your own website.
27. Ponoko (New Zealand)
Online service and marketplace (open your own shop) with laser cutting,
cnc routing, 3D printing, electronic components through local hubs.
Source: http://www.ponoko.com
28. Ponoko (New Zealand)
Online service and marketplace (open your own shop) with laser cutting,
cnc routing, 3D printing, electronic components through local hubs.
Source: http://blog.ponoko.com/digital-making-hubs/
29. Ponoko (New Zealand)
Online service and marketplace (open your own shop) with laser cutting,
cnc routing, 3D printing, electronic components through local hubs.
Source: http://www.ponoko.com/app-gateway/developer-program
32. Shapeways (Netherlands)
Online service and marketplace (open your own shop) with 3D printing.
Source: http://www.youtube.com/watch?feature=player_embedded&v=qJuTM0Y7U1k
42. A physical platform: Arduino (Italy)
Source: http://arduino.cc
An Open single-board microcontroller and IDE designed to make the
process of using electronics in multidisciplinary projects more accessible.
43. A physical platform: Arduino (Italy)
Source: http://www.youtube.com/watch?v=q2dieLFR9C8 Full documentary: http://vimeo.com/18539129
An Open single-board microcontroller and IDE designed to make the
process of using electronics in multidisciplinary projects more accessible.
48. Kicktraq: analytics for Kickstarter
Source: http://www.kicktraq.com/ http://www.kicktraq.com/projects/2105227104/ultra-bot-3d-printer/
Kickstarter is the world's largest funding platform
for creative projects.
49. Kickstarter: is it rather a Medium?
Source: http://www.fastcompany.com/1843007/kickstarter-crowdfunding-platform-or-reality-show
On Kickstarter, we sell / fund more an experience
than a product!
50. Lessons from / for Kickstarter
* Design for Simplicity: reduce the functionalities / components
* Design for scale: identify your possible supply chain and plan how
to scale the production
* Treat it like a job: it requires full time energy, and probably also a
team work
* Befriend fellow hackers: develop the project in hackerspaces or
fablabs
* Leverage your backers: use them not just for collecting money!
Source: http://www.wired.com/design/2012/08/how-kickstarter-project-hexy-got-made/
Some lessons from successful projects...“design for manufacturing”
51. Lessons from / for Kickstarter
* Set a spot-on funding goal — not too big, not too small: set your
Kickstarter goal near $10,000: 38% of projects met their goals
* Don’t take too long to raise your money: The average Kickstarter
campaign lasts for 30 days, with 35% of success
* Produce a slick video to get attention: The nearly foolproof way to
raise money on Kickstarter is to get the attention of the
crowdfunding site’s staff (89% success)
* Make at least 1,000 Facebook friends: Founders with 1,000
Facebook friends or more can have a success up to 40%
Source: http://www.wired.com/business/2012/07/kickstarter/
Some lessons from successful projects...
53. Crowdfunding for Open projects: Goteo
Source: http://goteo.org/?lang=en
A crowdfunding platform for Open Projects, not just involving money but
also time, participation and involvement from users.
54. Crowdfunding for local business: Smallknot
Source: http://www.smallknot.com/
A new trend in crowdfunding: fund local projects and business to
strenghten your local community.
55. Crowdfunding for local business: LuckyAnt
Source: http://www.luckyant.com/
A new trend in crowdfunding: fund local projects and business to
strenghten your local community.
56. Crowdfunding for local business: Brickstarter
Source: http://brickstarter.org/an-introduction-to-brickstarter/
A new trend in crowdfunding: fund local projects and business to strenghten
your local community. This is a Finnish example under development.
57. Crowdfunding for Finland: Mesenaatti.me
Source: http://mesenaatti.me/en/
Mesenaatti.me is the frst open-for-everyone Finnish
crowdfunding platform.
58. GitHub: coding for the social networks
Source: https://github.com/
The most popular platform for code development, and especially
open source: a personal open source place + social network.
59. Sourceforge: coding for the organization
Source: http://sourceforge.net/
The most popular platform for open source projects with 3.4 million
developers that create over 324,000 projects: coding for an organization.
60. GitHub as a platform: Gittip
Source: https://www.gittip.com/
A web service built on top of GitHub, it enables users to
thank / give money to their favourite developers / projects.
61. GitHub: Goteo as open source Crowdfunding
Source: https://github.com/Goteo/Goteo
The crowdfunding platform for Open projects
is itself an open project!
62. Upverter: design hardware, with GitHub
Source: http://upverter.com
Upverter is a design and collaboration platform for students, engineers,
designers, makers and hackers for making hardware online.
64. And designers can be entrepreneurs
New platforms for crowdsourcing allow you to fund your projects, and
digital fabrication and FabLabs could be useful for manufacturing them.
Source: http://www.kickstarter.com/projects/danprovost/glif-iphone-4-tripod-mount-and-stand
65. And designers can be entrepreneurs
New platforms for crowdsourcing allow you to fund your projects, and
digital fabrication and FabLabs could be useful for manufacturing them.
Source: http://www.kickstarter.com/projects/1104350651/tiktok-lunatik-multi-touch-watch-kits
66. But “Open” alone is not enough
Open Source is a good strategy, but your project needs
to be meaningful for enough people!
Source: http://www.kickstarter.com/projects/1833785894/100k-stray-toasthed-pull-toys
67. You need to interact with the market
… and this is exactly what new services and
platforms enable!
Source: http://www.threadless.com/
68. Open Hardware: a rising market
$0
$1,000,000
$2,000,000
$3,000,000
$4,000,000
$5,000,000
$6,000,000
$7,000,000
$8,000,000
$9,000,000
$10,000,000
$11,000,000
Revenues
2009: 13 companies above $ 1 m. (totale: $
50 m.). $ 1 billion by 2015.
Source: http://blog.makezine.com/archive/2010/05/million-dollar-baby-businesses-de.html
69. SparkFun
“In 2010, SparkFun had revenues of about $18.4MM. As of April of 2011, we
have around 120 employees, up from 87 a year ago.”
“We hope to grow by 50% this year (2011) to around $28MM in sales. We
expect to be in the 30-50MM range in the next 3-5.”
Source: http://www.sparkfun.com/news/599
70. A long tail of users / projects...
Another big player, a marketplace for your DIY /
Crafts projects (exploiting the long tail effect).
Source: http://en.wikipedia.org/wiki/Power_law
Number of projects
Numberofitemssold
Long tail
Top hits
71. 2005 2006 2007 2008 2009 2010 2011 (March)
$0
$50,000,000
$100,000,000
$150,000,000
$200,000,000
$250,000,000
$300,000,000
$350,000,000
Total$sold(GrossMerchandiseSales)
Etsy: exploiting the long tail
Users: +8 milioni / Active shops: +800,000
Products: 8.5 milions.
Source: http://www.etsy.com/press/kit/
72. Makers can create a startup: Makerbot
Started from an hackerspace (and from
RepRap, even fnancially).
Source: http://www.flickr.com/photos/kellycdb/6168020183/
http://commons.wikimedia.org/wiki/Category:Wood
73. The market of 3D printing
Sustainable business
--> $10 Milions from VC
Not yet sustainable
--> $5 Milions from VC
3D printing market has grown by 24.1% in 2011.
Forecasts: $3.1 billions (2016) $5.2 billions (2020).
(Wohlers Associates, 2011)
Source: http://wohlersassociates.com/press54.htm
74. Big corporations: 3D Systems
Not only hackers or startups are in this feld,
but even big and old companies.
Source: http://www.3dsystems.com/
75. Digital Fabrication: not just machines
28%
31%
41% 3D Printers
Materials
Services
There are many ways for making money with
digital fabrication...
Source: http://investor.3dsystems.com/
76. A typical closed innovation system
This is the typical evolution of a closed
company...
Source: http://en.wikipedia.org/wiki/Timeline_of_Microsoft_Windows
77. And newer pictures are too big for a slide :-)
Source: http://futurist.se/gldt/
An open innovation system
78. Open Innovation vs. Closed Innovation
Source: http://en.wikipedia.org/wiki/Open_innovation http://shar.es/HN3Ua
Firms can and should use external ideas as well as internal ideas, and internal and
external paths to market, as the frms look to advance their technology.
79. Open Innovation vs. Open Source
“Open innovation is sometimes confated with open source
methodologies for software development. There are some
concepts that are shared between the two, such as the idea of
greater external sources of information to create value. However,
open innovation explicitly incorporates the business model as the
source of both value creation and value capture. This latter role of
the business model enables the organization to sustain its position
in the industry value chain over time. While open source shares
the focus on value creation throughout an industry value chain, its
proponents usually deny or downplay the importance of value
capture.”
Source: Chesbrough, H., 2011. Open Services Innovation: Rethinking Your Business to Grow and Compete in a New Era
1st ed., Jossey-Bass.
80. Look for what is becoming a commodity
A commodity is a good for which there is demand, but which is
supplied without qualitative differentiation across a market. [...] the
market treats it as equivalent or nearly so no matter who produces
it.
Source: http://en.wikipedia.org/wiki/Commodity
Commoditization (also called commodifcation) occurs as a goods
or services market loses differentiation across its supply base, often
by the diffusion of the intellectual capital necessary to acquire or
produce it effciently. […] a unique, branded product into a market
based on undifferentiated products.
Source: http://en.wikipedia.org/wiki/Commoditization
81. Hardware and Software, becoming commodities
* ('50s-'70s) Hardware is the product, software is for free:
mainframes
--> Hacker ethic of sharing information
* ('80s-'90s) Hardware is commodity, software is the product and
it's proprietary: personal computers
--> Microsoft emerges
* ('00s-...) Even software is a commodity, so let's sell services
and get data from users: open source, web 2.0, services around
software, software as service, the cloud
--> web 2.0 emerges
82. Manufacturing and Design, becoming commodities
* ('90s-'00s) Manufacturing becomes a commodity and slowly
disappears in the West (thanks to China)
* ('10s-...) Now it's even more a commodity
(thanks to Fabbing)
* ('00s-...) Professional design is slowly becoming a commodity
(thanks to Fast Fashion, Ikea, design schools bubble, Shanzai)
--> Where is value now, in Design and Manufacturing?
83. Fabbing + designers = $$$ + Open Design
Big corporations love shopping Design companies for
selling their content with 3D printers.
Source: http://www.freedomofcreation.com/home/3d-systems-acquires-freedom-of-creation
84. But even makers may be giving content away...
The same strategy of giving content to the users of the
3D printers has been adopted by Makerbot.
Source: http://www.thingiverse.com/
85. But even anybody could become a user, so let's buy
a design software and offer it to them.
Source: http://blog.3dsystems.com/2011/05/3d-systems-partners-with-alibre.html
http://www.alibre.com/
Fabbing + designers = $$$ + Open Design
86. And users innovate (even in non open way)
Not developed by a company...
Source: http://en.wikipedia.org/wiki/Skateboard
87. Users innovate – a lot!
“We find this previously unmeasured type of household sector
innovation to be quite large: 6.2% of UK consumers - 2.9 million
individuals -have engaged in consumer product innovation during
the prior 3 years. In aggregate, consumers’annual product
development expenditures are 2.3 times larger than the annual
consumer product R&D expenditures of all firms in the UK
combined. “
Eric A.Von Hippel, Jeroen De Jong, Steven Flowers
Comparing Business and Household Sector Innovation in Consumer
Products: Findings from a Representative Study in the UK
http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1683503
89. Business models of Open Source (software)
Non-monetary incentives:
* problem solving
* ethical questions
* education + learning
* reputation --> social interactions + jobs
--> it's not just about money! Also a gift economy
90. A gift economy
A mode of exchange where valuable goods and services are regularly given
without any explicit agreement for immediate or future rewards.
Source: http://en.wikipedia.org/wiki/Gift_economy
91. A gift economy: focus on social networks
Flows of good and services are important only for mantaining and improving
social networks in the community.
Source: http://en.wikipedia.org/wiki/Gift_economy
92. Business models of Open Source (software)
Monetary incentives:
* selling software (as open or even with dual licensing)
* offering services (customisation, support, ...)
* paid developer work
* donation
* software as service (freemium, ...)
* embedding software into hardware
--> … it's not just only volunteer work! Also a market economy
93. A market economy
Decisions regarding investment, production and distribution are based on
supply and demand and the prices are determined in a free price system.
Source: http://en.wikipedia.org/wiki/Market_economy http://en.wikipedia.org/wiki/Market_economy
94. A market economy: barter
A method of exchange by which goods or services are directly exchanged for
other goods or services without using a medium of exchange, such as money.
Source: http://en.wikipedia.org/wiki/Barter
95. A market economy: money as medium
The main functions of money are distinguished as: a medium of exchange; a
unit of account; a store of value.
Source: http://commons.wikimedia.org/wiki/Category:Coins
96. Business models of Open Source (software)
Red Hat
frst open source company expected to break through the
$1bn mark in 2011.Source:
http://www.channelregister.co.uk/2011/03/24/redhat_q4_f2011_numbers/
Cost of developing Linux
The Linux Foundation (LF) (2008): $10.8 billion to build the
Linux community distribution Fedora 9 in today’s dollars with
today’s software development costs.
$1.4 billion to develop the Linux kernel alone.
Source: http://www.linuxfoundation.org/sites/main/files/publications/estimatinglinux.html
97. The levels of openness in Open Hardware
1. Closed: any hardware for which the creator of the hardware
will not release any information.
2. Open Interface: all the documentation on how to make a
piece of hardware perform the function for which it is
designed is available (minimum level of openness).
3. Open Design: in which enough detailed documentation is
provided that a functionally compatible device could be
created by a third party.
4. Open Implementation: the complete bill of materials
necessary to construct the device is available.
Source: http://www.osbr.ca/ojs/index.php/osbr/article/view/379/340
Patrick McNamara defned 4 possible levels of Openness in Open Hardware.
98. Note: Open Business is not completely open
* identity (brand) is fxed and is a warranty certifcate
* existing business ecosystems may not be open
* knowledge,expertise,tools,resources are not always “open”
Source: http://www.blender.org/blenderorg/blender-foundation/logo/ http://www.arduino.cc
99. The business models of Open Hardware
* Services and expertise (customization, consulting)
* Manufacturing of owned or third party Open Hardware
* Manufacturing of proprietary hardware based on Open
Hardware
* Dual-licensing
* Proprietary hardware designs based on Open Hardware
* Proprietary software tools for developing Open Hardware
* ... and …
Source: http://www.openp2pdesign.org/2011/open-design/business-models-for-open-hardware/
100. Business models for FabLabs
* Enabler: launch new Labs and support services
* Education: a global distributed model of education through
Fab Labs (Fab Academy + peer-to-peer learning)
* Incubator: provide infrastructure for entrepreneurs to turn
their Fab Lab creations into sustainable local businesses.
* Replicated / Network: provide a product,service or curriculum
that operates by utilizing the infrastructure, staff and
expertise of a local Fab Lab
Source: http://www.openp2pdesign.org/2011/fabbing/business-models-for-fab-labs/
http://www.fablab.is/w/index.php/Proposal#Overall_Goals_within_the_Fab_ecosystem
101. The business models of Open Hardware
Source: http://kits.sparklelabs.com/
Proprietary hardware tools for learning how to develop Open Hardware.
102. The business models of Open Hardware
Source: http://www.adafruit.com/jobs/
Offering free services for building a greater user base.
103. The business models of Open Hardware
+ =
Source: http://www.ponoko.com/make-and-sell/electronics
Partnership between hardware and fabbing companies
104. The business models of Open Hardware
Source: http://bildr.org/
Funding Open Hardware projects in exchange for documentation
105. The business models of Open Hardware
Source: http://www.flickr.com/photos/ttstam/4177935719/
Piracy as a learning and market building strategy: Shanzai
106. The business models of Open Hardware
Source: http://vimeo.com/26980501
Piracy as a learning and market building strategy: Shanzai
107. The business models of Open Hardware
Source: http://www.makerbot.com/blog/2010/11/26/makerbot-botcave-store-opens-today/
Brick and mortar stores: Makerbot, the Botcave
108. The business models of Open Hardware
Source: http://hackerspaces.org/wiki/NYC_Resistor
Renting spaces for co-working / funding spaces by a community: hackerspaces.
109. The business models of Open Hardware
Source: http://www.oshwbank.org/
Microcredit / peer-to-peer lending / crowdfunding: Open Hardware Bank
110. Similar models for DIY Craft... Sewing Cafes
Source: http://sweatshopparis.blogspot.com/
Renting spaces for co-working: Sewing Cafes
111. Similar models for DIY Craft... Sewing Cafes
Source: http://sweatshopparis.blogspot.com/
Renting spaces for co-working: Sewing Cafes
112. Open Money: making digital a physical medium
Source: http://en.wikipedia.org/wiki/Bitcoin
http://www.wired.com/magazine/2011/11/mf_bitcoin/
Money is now being redesigned by many open source projects, where the
governance of the fows of digital money is designed by the software: Bitcoin.
113. Open Money: making digital a physical medium
Source: http://www.youtube.com/watch?v=Um63OQz3bjo
Money is now being redesigned by many open source projects, where the
governance of the fows of digital money is designed by the software: Bitcoin.
114. Open Money: it still needs business models
Source: http://en.wikipedia.org/wiki/Bitcoin
http://www.wired.com/magazine/2011/11/mf_bitcoin/
But redesigning money is only half of the solution: we need to understand its
dynamics, and the possible business models it generates.
115. Crowdsourcing, mass-collaboration and work
“If crowdsourcing runs on people’s “spare cycles”—their downtime not
claimed by work or family obligations—that quantity is now in
surplus. […] Crowdsourcing is proving to be highly efficient at
identifying and exploiting those “spare cycles”.”
Source: Howe, J., 2008. Crowdsourcing: Why the Power of the Crowd Is Driving the Future of Business 1st
ed., Crown Business.
“First the 'human resource' is not just inside the boundaries of your
company. The world is your resource. This is more than outsourcing.
Companies can now tap into vast pools of labour."
Source: Tapscott, D. & Williams, A.D., 2006. Wikinomics: How Mass Collaboration Changes Everything,
Portfolio Hardcover.
116. … and a lesson from the past
Source: http://en.wikipedia.org/wiki/Henry_Ford
In 1914 Ford doubled the wages, enabling his workers to afford the cars they were
producing. Ford explained the policy as profit-sharing rather than wages.
117. When everything is peaking...
Source: http://ecoalfabeta.blogosfere.it/2011/03/il-picco-del-legno.html
Even renewable resources like wood are peaking.. What and how are we going to
manufacture when everybody will be able to do it?
118. … reinventing an open wheel is not enough
Source: http://www.theoscarproject.org/
Will just making open an unstainable past be sustainable?
119. New language, business for the new media
Source: http://en.wikipedia.org/wiki/Car
Every new technology takes time to develop its own
uses, languages and business models.
120. New language, business for the new media
Source: http://en.wikipedia.org/wiki/Car
Every new technology takes time to develop its own
uses, languages and business models.
121. … blocks of an Open, DIY and P2P Economy
* open business for design,energy,materials,tools
* open business that consider information as abundant but
materials and energy as scarce resources
* open money (but well designed and linked to energy and
materials)
* API and Open Data between open businesses
* Open processes + distributed testing of business models