TEACHING ATTITUDES, SKILLS, APPROACHES, STRUCTURE AND TOOLS のまとめYuichi Hirose
Caroline Hummels advocates for an educational model that reflects the openness of open design. Open design involves shifting the relationship between designers and users to be based on respect, flexibility, and collaboration rather than a rational model where designers are superior. It requires attitudes of intrinsic motivation, commitment to good work, curiosity, and learning from experience. The educational model for open design will also need to be flexible and open, involving all parties in continuous development to become a truly open system.
MakerBot Industries was founded in 2009 by Bre Pettis and Adam Mayer to create affordable and accessible 3D printers. They released their first 3D printer and sold them all at the SXSW festival that year. Since then, over 2500 MakerBot 3D printers have been sold and are used by a highly motivated community of users who not only make products but share their designs on Thingiverse and help improve and update the 3D printers. MakerBot's goal was to make 3D printing truly open and accessible to users.
THE BEGINNING OF A BEGINNING OF THE BEGINNING OF A TREND のまとめYuichi Hirose
Ronen Kadushin is an industrial designer who believes in open design - making CAD files publicly available online so others can download, modify, and produce designs through CNC machines. He wants to spark creativity and make design relevant by allowing people to build on and change his designs. However, any modifications must also be shared openly and not for commercial use. Kadushin sees designers playing more of a guiding role in an open process, influencing how quality is understood and connecting producers to consumers.
The document discusses the industrialization of the United States and continental Europe. It provides reasons for industrial development in the US, including natural resources like rivers, coal, and iron ore as well as available labor. It then discusses how industrialization spread to different parts of continental Europe at different times, with Belgium being one of the first due to its natural resources and transportation routes. Social structures and geographic challenges prevented industrialization in some European countries. The global impacts of industrialization included increased inequality between developed and less developed nations as well as societal transformations in Europe.
TEACHING ATTITUDES, SKILLS, APPROACHES, STRUCTURE AND TOOLS のまとめYuichi Hirose
Caroline Hummels advocates for an educational model that reflects the openness of open design. Open design involves shifting the relationship between designers and users to be based on respect, flexibility, and collaboration rather than a rational model where designers are superior. It requires attitudes of intrinsic motivation, commitment to good work, curiosity, and learning from experience. The educational model for open design will also need to be flexible and open, involving all parties in continuous development to become a truly open system.
MakerBot Industries was founded in 2009 by Bre Pettis and Adam Mayer to create affordable and accessible 3D printers. They released their first 3D printer and sold them all at the SXSW festival that year. Since then, over 2500 MakerBot 3D printers have been sold and are used by a highly motivated community of users who not only make products but share their designs on Thingiverse and help improve and update the 3D printers. MakerBot's goal was to make 3D printing truly open and accessible to users.
THE BEGINNING OF A BEGINNING OF THE BEGINNING OF A TREND のまとめYuichi Hirose
Ronen Kadushin is an industrial designer who believes in open design - making CAD files publicly available online so others can download, modify, and produce designs through CNC machines. He wants to spark creativity and make design relevant by allowing people to build on and change his designs. However, any modifications must also be shared openly and not for commercial use. Kadushin sees designers playing more of a guiding role in an open process, influencing how quality is understood and connecting producers to consumers.
The document discusses the industrialization of the United States and continental Europe. It provides reasons for industrial development in the US, including natural resources like rivers, coal, and iron ore as well as available labor. It then discusses how industrialization spread to different parts of continental Europe at different times, with Belgium being one of the first due to its natural resources and transportation routes. Social structures and geographic challenges prevented industrialization in some European countries. The global impacts of industrialization included increased inequality between developed and less developed nations as well as societal transformations in Europe.
This document summarizes a presentation by Matt Ratto on critical making and the Critical Making Lab at the University of Toronto. It introduces critical making as a way to reconnect experiential and conceptual practices through material exploration and critique. It provides examples of critical making projects like the Tux Phone Project and discusses how the Critical Making Lab conducts research, teaching, and infrastructure development around the material semiotics of digital information through hands-on workshops exploring topics like intellectual property and privacy.
121203CREATION & CO: USER PARTICIPATION IN DESIGNYuichi Hirose
The document discusses changes in the roles of designers, users, and clients in the design process. Traditionally, these roles were separated but they are now blending together through practices like co-creation and co-design. Users are becoming more involved in the design process by providing input, feedback, and even generating their own solutions. Designers are taking on more collaborative roles as facilitators. The relationships between all parties are opening up through methods like context mapping, where users share their experiences to inform the design process. While many industries recognize the need for changed roles, implementing user participation remains a challenge, particularly for larger companies.
The document discusses the concept of the "metadesigner" - a designer who shapes environments that allow non-designers to engage in design. It argues that while humans can design their own world, animals are limited by their innate environments or "Umwelts". Today, open design movements like Wikipedia, open-source software, and digital fabrication tools like 3D printers have democratized design. However, there are challenges to widespread physical creation, including costs, motivation, and ensuring only appropriate things are made. The role of the metadesigner is to address these challenges and facilitate inclusive design through interfaces and education.
This document discusses design literacy and how it has evolved with new technologies. It defines design literacy as the knowledge and skills people need to express their identities through design. Design literacy is analyzed at three levels: strategic vision, tactical choices, and operational skills. With Web 2.0 and digital tools, design has become more accessible and part of everyday life as people can more easily create, share and transform information. However, most people still need help utilizing today's production technologies to their full potential due to the complexity of life and limited imagination. The document provides examples of each level of design literacy.
It argues that open design, by pooling knowledge and resources, facilitating user participation, and re-evaluating concepts of time, can make strong contributions to sustainability and building stronger communities. The author believes open design is a tool to solve problems arising from systemic moral failures. Examples discussed include open-source washing machines and a project to build homes and community for the lonely or useless.
The document discusses an educator's efforts to teach open source design collaboration to students. He started by creating an open source design project that saw little participation. He then taught a class exploring open source design using HTML, CSS and WordPress. Students created tutorials for classmates that were shared online. This early sharing was more altruistic, but later students focused on tutorials directly relevant to their own work and received thanks from users, showing the benefits of collaboration and sharing knowledge. While progress was made, true collaborative design remains challenging to achieve online.
This document discusses downloadable design and how it aims to streamline the design process by eliminating transportation and stock needs. It proposes creating a platform for co-creation that allows end users to customize designs and designers to collaborate. The goal is to establish an alternative system to mass production that is locally-based and solves problems caused by globalization while fostering community.
121119THE BEGINNING OF A BEGINNING OF THE BEGINNING OF A TRENDYuichi Hirose
The document discusses the concept of open design, which involves publishing CAD files online under a Creative Commons license so they can be freely downloaded, copied, modified, and produced by CNC machines without special tooling. Open design has two limitations: modifications must be shared under the same license and the license prohibits commercial uses. The document advocates for open design to help connect producers, designers, and consumers and give designers more control over the creative process. Early adopters of open design are more focused on the process of making things than what specifically is created.
121119JORIS LAARMAN’S EXPERIMENTS WITH OPEN SOURCE DESIGNYuichi Hirose
Joris Laarman is experimenting with open source design and creating a system to filter good designs from bad. He envisions 1) a professional FabLab where anyone can customize and fabricate open source blueprints, and 2) an inclusive platform called Make-Me.com for open source design. However, open source design faces challenges of incentivizing designers and ensuring their financial compensation and copyright, as well as building infrastructure, before it can make a tangible impact similar to how the internet has become real infrastructure.
The author argues that the current copyright system only benefits best-selling artists while providing no benefits to most creative professionals. The author proposes abandoning copyright and ensuring no further market domination by a limited number of "conglomerates" that control production, distribution, and promotion in cultural fields like film, music, books, design, and visual arts. By scrapping copyright and preventing market control, many more cultural entrepreneurs would be able to take risks, serve more audience needs, and create new works, promoting greater cultural diversity than the current system allows. However, some argue this could reduce incentives for investment if works were easily replicable without copyright protection.
The document traces the history and development of personal manufacturing from 2007-2010, starting with Bre Pettis' McWire RepStrap in 2007 and the founding of NYCResistor. It highlights key milestones like the launch of Thingiverse in 2008 and the formation of MakerBot Industries in 2009. The document discusses how personal manufacturing empowers ordinary people to make almost anything and how MakerBot aimed to democratize manufacturing.
This document discusses the role of designers in an era where design has been democratized through open design movements and technologies like 3D printing. It argues that designers can take on the role of "metadesigners" who shape environments and tools to allow non-designers to engage in design. Specifically, metadesigners can create parametric design interfaces and promote inclusive design. However, open design also faces challenges around costs, motivating participation, and ensuring only appropriate things are created. Overall, open design should continue developing but also take these problems seriously.
This document provides an overview of open design and discusses how technological developments have blurred the lines between professional and amateur designers. Some key points:
- Open design involves sharing knowledge and collaboratively creating downloadable designs over the internet.
- Advances like 3D printing and CNC machines have given amateurs tools once only available to professionals, allowing individuals to more easily design products.
- Co-creation processes now involve users in the design process, with anonymous participants contributing online.
- The roles of professional designers may change as audiences select which designs to build on and add to, moving toward a "post-professional" era with less distinction between amateurs and professionals.
This document provides an introduction and overview of open design. It defines open design as designs that allow free distribution, documentation, and modification. The history of open design is traced back to 1999 with the Open Design Foundation and 1998 with Open Design Circuits. More recently, open design has grown as an influential trend in design, enabled by digital technologies. The document discusses open design projects and advocates for open licensing of designs to promote creativity and innovation while protecting intellectual property. It positions the Netherlands as supportive of experimental design and discusses the goals of the book in inspiring open design practices.
Haruka Aramaki is a master's degree student studying at the Yamanaka lab in SFC. Her favorite material is grass and she is interested in tools and recognition. The document discusses open design and different strategies or mindsets for design called possibilitarians and realitarians. Possibilitarians see opportunities in disruption while realitarians follow existing frameworks and rules. It notes how open design can both disrupt existing industries and be influenced by new technologies like desktop publishing and the internet.
The document discusses open design and how it is more than just a new way to create products. Open design changes relationships between people who make, use, and maintain objects. It advocates for small, local, connected, and open processes. The author argues that openness is important for commercial, cultural, and survival reasons.
This document summarizes a presentation by Matt Ratto on critical making and the Critical Making Lab at the University of Toronto. It introduces critical making as a way to reconnect experiential and conceptual practices through material exploration and critique. It provides examples of critical making projects like the Tux Phone Project and discusses how the Critical Making Lab conducts research, teaching, and infrastructure development around the material semiotics of digital information through hands-on workshops exploring topics like intellectual property and privacy.
121203CREATION & CO: USER PARTICIPATION IN DESIGNYuichi Hirose
The document discusses changes in the roles of designers, users, and clients in the design process. Traditionally, these roles were separated but they are now blending together through practices like co-creation and co-design. Users are becoming more involved in the design process by providing input, feedback, and even generating their own solutions. Designers are taking on more collaborative roles as facilitators. The relationships between all parties are opening up through methods like context mapping, where users share their experiences to inform the design process. While many industries recognize the need for changed roles, implementing user participation remains a challenge, particularly for larger companies.
The document discusses the concept of the "metadesigner" - a designer who shapes environments that allow non-designers to engage in design. It argues that while humans can design their own world, animals are limited by their innate environments or "Umwelts". Today, open design movements like Wikipedia, open-source software, and digital fabrication tools like 3D printers have democratized design. However, there are challenges to widespread physical creation, including costs, motivation, and ensuring only appropriate things are made. The role of the metadesigner is to address these challenges and facilitate inclusive design through interfaces and education.
This document discusses design literacy and how it has evolved with new technologies. It defines design literacy as the knowledge and skills people need to express their identities through design. Design literacy is analyzed at three levels: strategic vision, tactical choices, and operational skills. With Web 2.0 and digital tools, design has become more accessible and part of everyday life as people can more easily create, share and transform information. However, most people still need help utilizing today's production technologies to their full potential due to the complexity of life and limited imagination. The document provides examples of each level of design literacy.
It argues that open design, by pooling knowledge and resources, facilitating user participation, and re-evaluating concepts of time, can make strong contributions to sustainability and building stronger communities. The author believes open design is a tool to solve problems arising from systemic moral failures. Examples discussed include open-source washing machines and a project to build homes and community for the lonely or useless.
The document discusses an educator's efforts to teach open source design collaboration to students. He started by creating an open source design project that saw little participation. He then taught a class exploring open source design using HTML, CSS and WordPress. Students created tutorials for classmates that were shared online. This early sharing was more altruistic, but later students focused on tutorials directly relevant to their own work and received thanks from users, showing the benefits of collaboration and sharing knowledge. While progress was made, true collaborative design remains challenging to achieve online.
This document discusses downloadable design and how it aims to streamline the design process by eliminating transportation and stock needs. It proposes creating a platform for co-creation that allows end users to customize designs and designers to collaborate. The goal is to establish an alternative system to mass production that is locally-based and solves problems caused by globalization while fostering community.
121119THE BEGINNING OF A BEGINNING OF THE BEGINNING OF A TRENDYuichi Hirose
The document discusses the concept of open design, which involves publishing CAD files online under a Creative Commons license so they can be freely downloaded, copied, modified, and produced by CNC machines without special tooling. Open design has two limitations: modifications must be shared under the same license and the license prohibits commercial uses. The document advocates for open design to help connect producers, designers, and consumers and give designers more control over the creative process. Early adopters of open design are more focused on the process of making things than what specifically is created.
121119JORIS LAARMAN’S EXPERIMENTS WITH OPEN SOURCE DESIGNYuichi Hirose
Joris Laarman is experimenting with open source design and creating a system to filter good designs from bad. He envisions 1) a professional FabLab where anyone can customize and fabricate open source blueprints, and 2) an inclusive platform called Make-Me.com for open source design. However, open source design faces challenges of incentivizing designers and ensuring their financial compensation and copyright, as well as building infrastructure, before it can make a tangible impact similar to how the internet has become real infrastructure.
The author argues that the current copyright system only benefits best-selling artists while providing no benefits to most creative professionals. The author proposes abandoning copyright and ensuring no further market domination by a limited number of "conglomerates" that control production, distribution, and promotion in cultural fields like film, music, books, design, and visual arts. By scrapping copyright and preventing market control, many more cultural entrepreneurs would be able to take risks, serve more audience needs, and create new works, promoting greater cultural diversity than the current system allows. However, some argue this could reduce incentives for investment if works were easily replicable without copyright protection.
The document traces the history and development of personal manufacturing from 2007-2010, starting with Bre Pettis' McWire RepStrap in 2007 and the founding of NYCResistor. It highlights key milestones like the launch of Thingiverse in 2008 and the formation of MakerBot Industries in 2009. The document discusses how personal manufacturing empowers ordinary people to make almost anything and how MakerBot aimed to democratize manufacturing.
This document discusses the role of designers in an era where design has been democratized through open design movements and technologies like 3D printing. It argues that designers can take on the role of "metadesigners" who shape environments and tools to allow non-designers to engage in design. Specifically, metadesigners can create parametric design interfaces and promote inclusive design. However, open design also faces challenges around costs, motivating participation, and ensuring only appropriate things are created. Overall, open design should continue developing but also take these problems seriously.
This document provides an overview of open design and discusses how technological developments have blurred the lines between professional and amateur designers. Some key points:
- Open design involves sharing knowledge and collaboratively creating downloadable designs over the internet.
- Advances like 3D printing and CNC machines have given amateurs tools once only available to professionals, allowing individuals to more easily design products.
- Co-creation processes now involve users in the design process, with anonymous participants contributing online.
- The roles of professional designers may change as audiences select which designs to build on and add to, moving toward a "post-professional" era with less distinction between amateurs and professionals.
This document provides an introduction and overview of open design. It defines open design as designs that allow free distribution, documentation, and modification. The history of open design is traced back to 1999 with the Open Design Foundation and 1998 with Open Design Circuits. More recently, open design has grown as an influential trend in design, enabled by digital technologies. The document discusses open design projects and advocates for open licensing of designs to promote creativity and innovation while protecting intellectual property. It positions the Netherlands as supportive of experimental design and discusses the goals of the book in inspiring open design practices.
Haruka Aramaki is a master's degree student studying at the Yamanaka lab in SFC. Her favorite material is grass and she is interested in tools and recognition. The document discusses open design and different strategies or mindsets for design called possibilitarians and realitarians. Possibilitarians see opportunities in disruption while realitarians follow existing frameworks and rules. It notes how open design can both disrupt existing industries and be influenced by new technologies like desktop publishing and the internet.
The document discusses open design and how it is more than just a new way to create products. Open design changes relationships between people who make, use, and maintain objects. It advocates for small, local, connected, and open processes. The author argues that openness is important for commercial, cultural, and survival reasons.
7. The Two Controlling Markets
これまでに存在する文化的マーケットには2つのネガ
ティブな支配が存在する。
1.著作権法 →投資を守る法であるため、 best-
sellersには有効である。そのため文化市場の多様性を
頃している。
2.独占権→ films, music, books, design, visual
arts, shows and musicalsなどは本当に一部の企業に
しか市場コントロールが許されていない。
これら2つは相互作用しているため、これら2つを同
時になくしてしまう必要がある。
8. The Power of the Giants
大企業達は、多くの商品に対する著作権を持
ち、その著作権により市場でも権力を持つ。
対して多くの文化的企業家達は市場へのアク
セスすらない。
この構図の中では、多くのアーティスト達は
成功できないだけでなく生活するだけの収入
を得ることも難しい。
9. A Proposal for a New Market
正統な市場を作り出すためには以下の2つの
取り組みが必要である。
1.著作権の廃止
2.市場を正常化する
(ここでの「正常」とは平等のことを指
す。)
14. The Power to the Masses
今まで述べてきた市場が実現されると…
膨大な量の文化的起業家達がスターの脚光に
邪魔されることなく収益を得ることができる
だろう。
選ばれたアーティスト達はbest-sellersとして
世界に拡散する仕組みがもうないためwell-
sellersとなる。