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What will designers do when everyone can be a designer?
Published in Iryna Kuksa, Tom Fisher, Design for Personalisation, 2017
Open design is an approach, closely related to open source, defined as ‘the free revealing of information on a new design with the intention of collaborative development of a single design or a limited number of related designs for market or nonmarket exploitation’ (Raasch et al., 2009: 383). It has recently received significant attention following the publication of Open Design Now (van Abel et al., 2011), a collection of essays documenting the history, practice and future direction of open design. Katz (2011: 63) characterises open design as follows: A design is an open design if it bears four freedoms. One: The freedom to use the design, including making items based on it, for any purpose. Two: The freedom to study how the design works, and change it to make it do what you wish. Three: The freedom to redistribute copies of the design so you can help your neighbour. Four: The freedom to distribute copies of your modified versions of the design to others so the whole community can benefit from your changes. Access to the design documents is a precondition for these freedoms.
How Open Is Open Source?
Published in Cornelius Herstatt, Daniel Ehls, Open Source Innovation – The Phenomenon, Participant's Behavior, Business Implications, 2015
Kerstin Balka, Christina Raasch, Cornelius Herstatt
Beyond pure software development, the term ‘open design’ (Val-lance, Kiani and Nayfeh 2001) provides a framework for sharing design information stemming from hardware as well as other physical objects. This design has different effects on aesthetics, usability, manufacturing, quality, and so forth. Manufacturers often use modular designs to organize complex products. A modular design is composed of modules that are in turn made up of components (cf. Singhal and Singhal 2002).
Makerspaces on Social Media: Shaping Access to Open Design
Published in Human–Computer Interaction, 2019
Maria Menendez-Blanco, Pernille Bjørn
Governments, companies, and societies express increased interest in democratic forms of participation in innovation (Chesbrough, 2006; Manzini, 2015; Mulgan, Tucker, Ali, & Sanders, 2007). Within the European Union, this interest is associated with the 2008 financial crisis, which unveiled a fault in the assumption that investments in knowledge alone would equate to growth and jobs (European Union Financial Programming and Budget, 2008); when, in fact, access to knowledge turned out to be a significant challenge. Having opportunities to join the global economy and produce technology is not equally accessible for all (Bjørn & Boulus-Rødje, 2018). Political, geographical, and financial differences across technology development matter for whom is included or excluded – as well as who has a voice (Bjørn, Søderberg, & Krishna, 2017; Kristiansen, Valeur-Meller, Dombrowski, & Holten Moller, 2018). Open Design, with its focus on publicly accessible and shared resources, seeks to respond to this challenge. Concretely, Open Design facilitates multiple participants in gaining access to relevant knowledge and artefacts, which allows them to design, develop, and share ideas to larger distributed communities of innovation (Green et al., 2017). While Open Design is a promising approach to foster innovation, there is limited understanding of how access to Open Design is actually enabled.
Framing Open Design through Theoretical Concepts and Practical Applications: A Systematic Literature Review
Published in Human–Computer Interaction, 2019
Yekta Bakırlıoğlu, Cindy Kohtala
Particularly in practitioners’ non-academic literature, but also increasingly in academia, open design is seen and conceptualized as alternative manufacturing or fabrication, a new way to organize and manage design, acts of prosumption or peer production, alternative material culture, and/or explorations in horizontal community organization (Boisseau, Omhover, & Bouchard, 2018; Manzini, 2015; Raasch, Herstatt, & Balka, 2009; Thackara, 2011; Tooze et al., 2014; van Abel, Evers, Klaasen, & Troxler, 2011). Researchers interested in ‘openness,’ whether in product design, engineering, HCI, media and communications, management studies, or the natural sciences, appear to be taking up the notion of ‘open design’ and ‘open-source design’ to frame their studies. This increased attention may be due to the number of research-practitioners who both experiment with open practices, processes, and outcomes, but also wish to examine them more systematically using conventions from various study fields. Presumably, it is seen fruitful to present their findings in academic channels (not only websites, blog posts or Github), to reach new audiences and like-minded colleagues, but also to persuade incumbents that these new open-oriented practices are worth considering by informing about and advocating them. The benefits of open design are thereby articulated in various ways, from a strategy to attract new markets to a means to allow communities to meet their own needs in less ecologically impactful ways.
Introduction to This Special Issue on Open Design at the Intersection of Making and Manufacturing
Published in Human–Computer Interaction, 2019
David Philip Green, Verena Fuchsberger, Nick Taylor, Pernille Bjørn, David Kirk, Silvia Lindtner
While the vision for, and the promise of, open design is free sharing for all who want to contribute and participate, we know from earlier research that open participation is not guaranteed by putting available material online (Fox et al., 2015; Mendez et al., 2018). Diversity, inclusion, and equality for participation in technology development is a tremendous challenge for open design (Menendez-Blanco, Bjørn et al. 2018). To participate in open design activities often means gaining access to makerspaces. And while these spaces often have inclusion as an explicit goal, in reality, they are often more complex to access (Taylor, Hurley, & Connolly, 2016). A key risk is that only the privileged will have participatory access to open design. Diversifying open design has the potential to create various horizontal spaces, both digital and physical, while allowing for more inclusive participation and diverse forms of participation. How and indeed, whether, this can be achieved is a challenge for today.