Bas van Abel

Open design covers an extensive area and its contours are not yet clearly defined, making it difficult for designers to come to grips with the developments. One of the most tangible open design experiments was the (Un)limited Design Contest, which challenged the designers to try something out and experience for themselves what happens next. Alexander Rulkens (Studio Ludens), ¹ Sylvie van de Loo (SEMdesign) ² and Goof van Beek ³ share their experiences.

All designs that were submitted were made with digital manufacturing technology, using machines that turn digital designs into physical products. Digital manufacturing offers the designer many new possibilities. Professional designer Sylvie van de Loo used a computer-controlled laser cutter to create her Fruit bowl 128.  DOWNLOADABLE DESIGN The bowl is constructed from 128 pieces cut out of cardboard. Her initial idea was to work out a prototype of the bowl in clay. As she was drawing the bowl in 3D on the computer with a friend, she began checking the possibilities for manufacturing the product digitally. For this, she went to the Fab Lab in Utrecht.

Sylvie: “I’ve been in the Fab Lab before, but I didn’t see the potential for my own work at that time. I thought it was all a bit too technical; I felt that a creative approach was lacking. Now I’m discovering that the technique is an important source of inspiration to me.” Sylvie took the advice to turn her bowl into a technical drawing program, which was capable of breaking the 3D form up into sectional planes with a specific width. This approach allows her to generate forms for different materials, which are then cut out with the laser cutter.
AESTHETICS: 2D It is a fairly technical process, which has had an important influence on the creative process and was one of the deciding factors in the final form and appearance of the end product.

Sylvie: “Working with the laser cutter was really a revelation for me. What a cool machine! Anything is possible. You can form 3D layers out of 2D layers. It’s very precise, and you can engrave the most beautiful forms with it. Because you yourself get to work with the prototyping technology, the process of making it is a valuable addition to the final design. If I hadn’t had the chance to experiment with the machine, the definitive form and choice of material would never have occurred to me.”  HELLO WORLD

But still, designer Alexander Rulkens van Studio Ludens feels there is a great deal of room for improvement in how people gain access to the designing process and machines.  ARCHITECTURE Alexander: “I think the Fab Lab concept can benefit from better interfaces to wield the great power that the technology can give.” He didn’t submit a product for the contest; instead, he submitted a software tool that enables everyone to create their own design easily.

Sharing for Yourself

It’s clear that access to technology offers new possi-bilities, but what possibilities does sharing creative work offer the designer? Goof van Beek won the design contest in 2009; his design received extensive publicity. Goof: “It’s fun when people come up and talk to you because they saw your design somewhere. I’m not sure if it really was the open nature of the design that gave the dress the amount of attention that it got, but it was a good first introduction to the reality outside the environs of my study. Meanwhile, I have been approached to take part in an exposition.”

It could be that the conditions of the contest played a role in this: under the (Un)limited Designs terms, the design could be published and shared without prior approval from the  DESIGNER designer. On the one hand, this made it possible for the designers to establish a name for themselves more quickly, and a company that finds the product interesting knows who to go and talk to. However, it also means that designers have given their permission for others to adapt the design and publish their derivative design. “It is a bit scary, but it also has its advantages,” says Sylvie. “The bowl is finished as far as I’m concerned, and I think it’s really great that someone else could pick it up and give it their own twist.”

She isn’t afraid this openness will stand in her way as a designer or harm her business interests. Sharing the design also associates her with the product as the original designer – and even if a design hasn’t been explicitly shared, the designer still always runs the risk of ideas being stolen.

Alexander emphasizes that it’s not just a business matter. Alexander: “The major benefit of sharing is the opportunity to get feedback on your thought and design process early on. You are opening yourself up to the knowledge of others, to different perspectives, which you need as a designer to come up with ideas that are relevant to society. The fact that your design is open to improvement ultimately means that it will be better suited to the people who are going to use it in their day-to-day lives.”

Signature

But looking at the entries in the design contest, only three products were submitted in the ‘fusion’ category. It’s a category that provides incentives for the re-use and re-interpretation of designs that had already been submitted.  REMIX Sylvie and Goof both expect that this has to do with the importance of the designer’s signature style, especially in a contest. Sylvie: “There is a difference between what you use from other designs as an inspiration for your own design, and basing your design entirely on somebody else’s. Originality is important to a designer, and designers aren’t used to explicitly recognizing others for contributing to their design. This makes us choose the safe way by inventing something new.’ Goof: “It’s strange that we don’t consider improving somebody else’s product a challenge, because I would really like to take a few designs in hand in my surroundings. I do know several designs that I think could be done better.” Sylvie thinks that education has an important role in forming this attitude. Sylvie: “At the academy, we were encouraged to be original by creating work that is unique and distinguished.  DESIGNERS I never saw any–one literally taking an existing design as a starting point for a personal interpretation or addition. Maybe we still consider ourselves too good to do that.”

Alexander has a somewhat more radical view. He believes that open design will essentially change the role of the designer. Alexander: “Designers will have to start listening better in a world where the designer doesn’t make the design decisions, but rather facilitates the process of designing decisions.” The meaning of a signature style is changing, as is the way in which we handle that signature style. Alexander: “We have to move towards a system where a person’s contribution to a design can be measured and that person can be given proper credit for their efforts. This means that the designer has to let go of the feeling that “it was my idea”.

It is not yet possible to draw hard and fast conclusions from the results of the (Un)limited Design Contest, EVENTS but it is clear that the designers will engage in the challenge. The most valuable aspect of this kind of experiment is that it enables us to explore certain aspects of open design. In the first edition of the contest, the question was still whether designers were willing to throw open their own design. The emphasis in the second edition was on compound products; the challenge for the third edition will probably be achieving a design dialogue between the contestants.

→ unlimiteddesigncontest.org

Bas van Abel Lucas Evers Roel Klaassen

Open design existed before the publication of this book, of course. The term first appeared at the end of the last century with the founding of the non-profit Open Design Foundation, which attempted to describe this new phenomenon. ¹ The organization proposed necessary conditions for open design rather than attempting to comprehensively define it: open design was design whose makers allowed its free distribution and documentation and permitted modifications and derivations of it.² Around the same time, Reinoud Lamberts launched the Open Design Circuits website ³ at Delft University of Technology for the purpose of developing integrated circuits in the spirit of open source software. The fashion industry was a notable early adopter of open design. ⁴ More than a decade later, open design is actively developing and has become an influential trend in the world of design. Open Design Now looks ahead to the future of design. Using key texts, best practices and a visual index, we sketch a picture of open design based on the knowledge and experience of the present moment. In doing so, we seek to contribute to the development of design practice and at the same time draw attention to the importance of open design among a broad audience of design professionals, students, critics and enthusiasts.

USING KEY TEXTS, BEST PRACTICES AND A VISUAL INDEX, WE SKETCH A PICTURE OF OPEN DESIGN BASED ON THE KNOWLEDGE AND EXPERIENCE OF THE PRESENT MOMENT.

The three initiators of this book – Creative Commons CREATIVE COMMONS Netherlands; Premsela, Dutch Platform for Design and Fashion; and Waag Society – represent three different but complementary perspectives on design. Sharing, design and innovation came together in a natural way in the (Un)limited Design project, which we began together in 2009. The first (Un)limited DesignContest EVENTS was intended as an open design experiment. Entrants could submit product designs on the condition that they shared their digital blueprints so others could modify and improve their designs or manufacture them using Fab Labs. Creative Commons licences allowed entrants to share their designs without relinquishing copyright. The contest elicited innovative and imaginative designs ⁵ and led directly to Open Design Now.

Open

Digital technology and the internet have irrevocably changed our world. Millions of bloggers are providing serious competition for renowned media and news organizations. The entertainment industry struggles to capitalize on the vast growth of audiovisual consumption. A single individual with internet access can unbalance political relations all over the world. Writers and musicians no longer need printers, publishers, studios or record labels to take a shot at eternal fame. As equipment continues to get cleverer and cheaper, these developments are also affecting physical products and production processes. You can create a 3D design on your computer using free platforms like Thingiverse and make it freely available on a site like the Pirate Bay (or sell it on Etsy) so that it can be manufactured locally all over the world, digitally or otherwise, using a distributed manufacturing service like Shapeways.

Although technological progress is the driving force behind these new forms of design, distribution and production, we must look for and develop more satisfactory forms of intellectual property rights in the near future. The Creative Commons licences were designed to give creative people the freedom to deploy copyright in a flexible manner. They allow a creator to retain all rights while giving permission in advance for his or her work to be shared, distributed and modified – depending on the specific terms stated in the licence. While the licences can no longer be considered innovative, they are being applied in creative new ways. By putting open design on the agenda, Creative Commons Netherlands is expanding the use of open licences into the domain of product design and giving intellectual property back to its creators. After all, before an object is designed and produced, it leads a separate life as an idea, often taking on a range of forms during the process, from a sketch on a scrap of paper to the final CAD drawings used in production. Open licences can be used to protect every form in between. These licences smooth the way for creativity and innovation, but also remind us of a fundamental issue in design: that design cannot remain exclusive.

Digitization BLUEPRINTS has brought unprecedented growth to industries like industrial design, architecture, fashion and media. It has led to technological and professional changes that have also had great social significance. Open design offers unprecedented possibilities for the design of our surroundings, for design as a profession, and for designers – professionals and amateurs alike. The industrial era was mainly about designing products for the masses; in the post-industrial digital era, the masses themselves are seizing the chance to design, manufacture and distribute products.

Design

It is perhaps not surprising that the Netherlands has proven to be a fertile breeding ground for open design. In a culture characterized by a continuous battle to hold the sea at bay, the Netherlands has built up a rich history in adapting and designing the human living SOCIAL DESIGN DesignSmashes,REMIX FairPhones, environment and can be considered one of the first modern democracies. The relatively open-minded society has allowed experimental design to flourish. This small country has a proportionally high number of designers, most of whom tend not to be highly specialized or tied to an industry. Consequently, they cannot limit themselves to one area and must remain open to other disciplines, inside the field of design and beyond. It is no coincidence that Premsela, the Dutch platform for design, encourages the development of an open design culture. In the 1990s, this mentality led to what became known as conceptual design. Today, a decade later, we can see that an open design philosophy is essential to coping with a changing world. Open Design Now!

Now

Where do we go from here? Reading this book could be a good start. It has become an open project; anything else was hardly conceivable. Open Design Now is meant as a travel guide to the emerging and expanding world of international open design. Pore over it in your study, take it with you to work and discuss it with your colleagues, and allow it to inspire you. This book provides an overview of best practices in ‘creative innovation’, as Waag Society calls it. Or perhaps we should call it ‘social and participatory innovation’, since the term refers to the continuous search for meaningful applications of technology and design that will benefit the general population.

According to Paul Valéry ⁶, creativity springs less from one’s own ideas and originality than from a structure that compels new insights. CO-CREATION In his eyes, the true creative never stops searching. Creation itself is the work, the primary goal, an end in itself; in his view, your completed object is no different from anyone else’s. The same is essentially true of this book: it is not finished, nor can we claim full credit for its contents.

Textually, Open Design Now ⁷ is structured around feature articles and case studies. Visually, however, it is structured around images that show how open design has changed the way the world looks. Although many of the examples in this book are small in scale, they indicate the promise open design holds for the near future – a future of $50 prosthetic legs, Fritzing, Instructables Restaurants, COMMUNITY RepRaps and (Un)limited Design.