Great innovation requires widespread collaboration. The strongest evidence of this correlation is the spike in innovation that occurred around the time of the Industrial Revolution, when people from diverse backgrounds began living and working together in cities for the first time. Solitary inventors could deliver amazing discoveries, then and now, but the world is growing far too complex for individuals to make breakthroughs at the societal level as often as before.

Tom Hulme

Widespread collaboration  CO-CREATION among diverse individuals requires clarity – making everyone aware of the process, roles and motivations. It is often improved by taking a visual approach to problem-solving, because images and drawings transcend language and enable communication across cultures.

New Ways to Collaborate

At IDEO, we have long embraced the idea that innovation and collaboration go hand in hand. When we work with clients, we typically bring in outside experts and consumers for design research and testing. In recent years, emerging technologies – from digital video to social networks – have provided completely new means to collaborate. Establishing our own web-based community and hosting challenges online seemed a natural next step. When we couldn’t find a platform that accommodated all of our criteria, we created our own.

OpenIDEO brings together creative people from all corners of the globe to solve design problems SOCIAL DESIGN for social good. The platform is unlike any other: it walks participants through the innovation process in three distinct phases; it encourages visual contributions; and it features an automated feedback tool called the Design Quotient. The DQ rewards both the quality and quantity of an individual’s contributions. All contributions are valued – even simply applauding the efforts of others.

When developing the platform, we specifically focused on encouraging collaboration as much as possible. For example, OpenIDEO invites users to build on one another’s contributions.  BLUEPRINTS It also enables comments on every type of contribution, no matter how small. These two features have already produced innovative ideas that traditional closed calls for final solutions would never have yielded.

In OpenIDEO’s first six months, the site had 10,000 active users who completed four challenges. To date, IDEO has received more than 1,500 inspirations and 1,000 concepts. We have also begun collecting success stories of how OpenIDEO is creating impact in the world — the only metric that really matters.

→    http://openideo.com/

If you plan to produce a $50 below-knee prosthesis for a developing country like Indonesia, where would you start? Is it even possible, considering that a below-knee prosthesis in the Western world costs $4,000? Waag Society’s Fab Lab Amsterdam in the Netherlands and the House of Natural Fiber, a media and art laboratory in Yogyakarta, Indonesia are working on a collaborative project aimed at finding answers to these questions.

Alex Schaub, Deanna Herst, Tommy ‘Imot’ Surya, Irene ‘Ira’ Agrivina

The House of Natural Fiber (HONF) has initiated a number of projects in the surrounding area, ranging from arts and design to education and public services. In line with its consistent focus on interactivity between people and environments, HONF selects and structures its projects based on the needs of local communities.  SOCIAL DESIGN One of these projects includes research on production and fabrication processes in relation to such fields as robotics, open source, and scientists (e.g. microbiologists). One of the partner organizations that benefit from the support provided by HONF is Yakkum, a rehabilitation centre for disabled people. HONF has been collaborating with Yakkum for almost 9 years, working as a non-official mediator and facilitator through workshops in the field of arts and empowerment. The collaboration with Yakkum confronted HONF with its biggest challenge in the context of fabrication processes. Yakkum produces prosthetics and orthotics for people with physical disabilities, particularly in Yogyakarta and other urban areas in Indonesia. However, these medical aids are expensive to produce, and take far too much time; one prosthesis is finished every two weeks. The situation is particularly problematic since there are many patients who urgently need prostheses, and most of them come from poor families. The aim of the $50 prosthesis project was to enable Yakkum to provide prostheses for two people a day using Fab Lab technology.

The first step in this collaborative process took place in May 2009, when Fab Lab Amsterdam invited HONF to an introductory prosthetics workshop for an initial exchange of experiences between users and designers.  CO-CREATION The workshop covered methods, techniques and materials and included expert input from Hugh Herr, director of the Biomechatronics Research Group at MIT, and Marcel Conradi, director of the De Hoogstraat Rehabilitation Centre in Utrecht. End-user evaluation was provided by Appie Rietveld, initiator of Korter maar Krachtig, ¹ a Dutch support and advocacy group for people dealing with limb loss.

A second prosthetics workshop in January 2010 aimed to define design parameters for adjustability, to devise inexpensive, efficient methods for production, and to explore the use of local materials – using local bamboo instead of aluminium reduces production costs considerably.  TREND: SCARCITY OF RESOURCES Some very useful insights emerged, such as the discovery that the patent of the ‘pyramid adapter’, a crucial part of the prosthesis, is expired, which allowed the collaborating partners to re-engineer it.
The next step was to test a first bamboo prototype and to make it adjustable. Most prosthesis users currently depend on orthopaedists for every minor adjustment of their prostheses, but that could theoretically be avoided. Many users do not realize that they already have a lot of first-hand knowledge about their own prosthesis, since they wear them 24/7; they are the experts on their own prosthetics use. Children generally need to have their prosthetic legs recalibrated by a doctor every six months. In Indonesia, this costs a lot of time and money. An adjustable leg would enable end users to adjust their prosthetic legs themselves by feeling and experiencing the fit, measuring the prosthesis and adapting it.

Walking on different surfaces also requires adaptation of the leg. The roll-off curve of a foot changes drastically when walking on different surfaces. The majority of prostheses on the market are designed for just one standard surface. An adjustable prosthesis would enable users to manage aspects like the roll-off curve, the angle of the foot or the height of the prosthesis themselves. In Indonesia, prosthesis alignment is mainly done manually. To facilitate the process, the collaboration team started to develop tools, such as a cheap alignment laser device and a portable 3D scanner. As DIY  DIY kits, these tools could improve accuracy while remaining affordable and accessible. Besides using digital fabrication resources, the team embraced open innovation principles, drawing knowledge from the expert users in Yakkum, the designers from HONF and Fab Lab Amsterdam, academic advisors such as Professor Bert Otten (Center for Human Movement Sciences, NeuroMechanics, University of Groningen) and specialized manufacturers like Kamer Orthopedie in Amsterdam. Input from all the parties will be used in the process of developing and designing the adjustable leg. The concrete results of the $50 prosthesis project so far also include key design insights. For instance, adjustability allows end users to take a crucial step toward independence, and the visual design of the prosthesis is important to end users. In addition, knowledge transfer during production is important for empowerment and self-reliance. In terms of production, the team gathered knowledge  KNOWLEDGE on how to user thermoforming to produce quality limb sockets quickly.

The next steps will address specific, tangible end-user needs and preferences. What do users need in order to adjust the prosthesis effectively? How would they like the design to look and feel? The aim is to develop a process or method for design based on the parameters defined in consultation with ‘expert users’: adjustability, open innovation and digital fabrication. To this end, a Fab Lab will be set up in Yogyakarta with a special Prosthetics section. The collaborative team working on the $50 prosthesis project will not stop there. In the future, they plan to research options for using intelligent materials to enhance the experience and effectiveness for the end user. Another goal is to explore the use of embodied cognition. Professor Bert Otten expects the process of prosthetic design to be guided by the team’s increased insight into the development of embodied cognition in amputees as they learn to walk with the leg prosthesis. Their improved sense of dynamic balance can be observed best from the way they move and how they intuitively adjust the prosthesis. No technical insight or expertise should be needed to adjust the prosthesis optimally, as long as the design is based on embodied cognition.

→ blog.waag.org/?p=2454

Jens Middel

Suppose you want to make people aware of grave human rights abuses in a faraway country. Suppose you also want to convince them to take action against those abuses. And suppose, finally, that you want to interest even groups who aren’t particularly idealistic. How do you pull it off? FairPhone is an answer to this question – and open design plays a crucial role.

To create and promote the world’s first fair mobile phone, together. One that can easily compete with today’s best and most sharp-looking phones. This is FairPhone’s  SOCIAL DESIGN objective – or better said: it’s the common goal of the people visiting this interactive online community. Here, men and women from all over the planet pool their design skills,  KNOWLEDGE campaign ideas and social concerns. In the process of trying to make a fair mobile phone, participants eventually realize that they’ll need certain key minerals for the phone’s production – and that phone brands have so far refused to reveal where these minerals came from, or are clearly retrieving them from African mines where working conditions are deplorable.  TREND: SCARCITY OF RESOURCES FairPhone will facilitate both the participants’ search for better mines and their petition to phone brands to contract those better mines.

The Call for Interaction

The keyword in FairPhone is ‘together’. It is, after all, a community of people participating in a co-creation CO-CREATION process. It is not a traditional process, though; there is no-one hovering over the contributors, deciding who responds to whom or who does what. The only top-down coordination on the project is that the initiative presents ‘challenges’: specific design and campaign problems for visitors to solve. Contributors can choose for themselves which ideas and designs they send in, and have permission to freely use other people’s entries as building blocks – just as their ideas and designs in turn might form the basis of other, future contributions. FairPhone is interactive, co-creational, peer-to-peer  CO-CREATION and open. According to its founders, this is exactly what makes the project so attractive to so many people – even the ones who usually aren’t interested in taking part in idealistic initiatives.

The Call for Freedom

The founders in question are: Waag Society, a foundation that develops creative technology for cultural innovation; NiZA, an NGO, that fights for equal rights and fair distribution of wealth; Schrijf, a company specializing in creative communication concepts and text products.

Their basic assumption is that men and women in today’s society may be more individualistic than ever, but are nevertheless social and creative creatures at heart. People still want to belong; they just want to choose a community for themselves, be free to decide when or where to participate in it and make a unique, individual contribution to the group’s goals. They also want their participation to be challenging: to let their interaction with others stimulate their own personal development.

The Call for Justice

FairPhone taps into this modern mentality: by creating an internet community  COMMUNITY that people can enter and leave at will; by inviting and enabling each person to use their own creative talents in completing a collective project; and by posting design and campaign challenges online, inviting participants to comment and build on each other’s ideas. FairPhone also appeals to idealists, because it follows consumers’ growing call for corporate responsibility and transparent production lines. The project is not primarily about developing a prototype of the first fair mobile phone. Rather, it is about bringing people together, inspiring all telephone brands to ‘go fair’ and fighting injustice the most effective way possible: together, as a collective.

→ www.fairphone.com

Tommi Laitio

In a world of material scarcity and competent people, the right question to ask when designing is not who knows best. Rather, we should be asking what is just and fair.

The world’s problems are rooted in moral bankruptcy that underlies all the systems in which we live and operate. Over 90% of the resources taken out of the ground today become waste within three months. ¹

To avoid the catastrophic effects of climate change, we need to cut our carbon emissions to a tenth of the present level. Approximately 75% of the world’s population live in countries where national consumption exceeds the planet’s bio-capacity.² Worse yet, the world’s population is expected to grow by 50% in the next forty years. That will make nine billion of us.

Consuming less will not be easy. In the developed world, the demand for new products, different lifestyles and more active forms of participation grows as people gain new skills, have more expendable time and money, and find themselves looking for meaning in their lives. Meanwhile, basic standards of living are far from being met in many parts of the world. While the developed countries are dealing with hedonistic angst, approximately 50,000 people die daily from poverty-related causes – most of them women and children. One billion people go to sleep hungry every day.

The world as it is, in all its flawed complexity,  TREND is the ultimate design challenge of today. The issues that need to be tackled do not have a clearly identifiable owner or one simple solution. We’ve entered an era of co-existing versions of truth that may not be fully compatible, even to the point of being mutually exclusive. The ultimate problems of this time are results of the way we eat, interact with others, exercise and consume. This is why they are also far too serious to be left entirely to professional designers.

This complex combination of problems calls for open design. So far, professional designers have dealt with material shortages by minimizing their negative impact on production and distribution. Classic approaches to market segmentation no longer function when factors like age or ethnicity no longer define ambitions and desires. Neither professional-led design nor classic approaches will be broad enough to solve pandemic problems like climate change and other worldwide anthropogenic issues, stemming from an absence of moral responsibility. The facts are clear: we need a full paradigm shift; minor tweaks to traditional methods will no longer suffice.  REVOLUTION

The challenge that we all share is to create design that actually solves problems.  SOCIAL DESIGN The questions to be answered become far clearer with this strategic focus. If design is to be used successfully in striving for a fairer place to live, a number of things will be needed, including more participatory tools for understanding the architecture of the problem, quicker ways to test alternative solutions, smarter methods of negotiation and selection, and flexibility in production and distribution.

A Tale of Two Worlds

For the first time in human history, more than half of the world’s population lives in cities. According to the UN, in 2020 half of these city-dwellers will live in slums. Aspirations for urban lifestyles are inevitably going to clash. It is harder to build communities when everyone feels they belong to a minority.

Urban freedoms need to be pursued in ways that do not limit other people’s freedoms. Strong local communities  COMMUNITY are fundamental in assisting people in planning their lives, sharing resources and knowledge, developing a sense of home, solving the problems they face, feeling safe, having room to laugh and play as well as building lasting relationships with the people around them. Community structures necessitate government investments as well as new inventions in affordable communication, food production, public transport and housing.

It is in cities that the world of tomorrow is being made, as they build resilience against global turmoil. Issues like local food production are being acknowledged in government programmes. However, in order to share their ideas and resources, people need to feel comfortable and safe. This poses a tremendous challenge, especially in societies where people are most affected by global injustice. When people are struggling to meet their most basic day-to-day needs, the motivation to search for solutions together is small. The same applies to marginalized groups, even in developed societies. When people consider themselves victims of circumstance, opening up to others takes several preparatory steps. Equality, good public spaces and education are fundamental preconditions for open design. The same applies to open design for public services – and equal societies are both happier and more cost-efficient.³

Open design is part of a shift from ‘wow design’ to ‘we design’.

Even if there are many developments that run parallel in developed and developing countries, there are also vast differences. Developing countries urgently need affordable, yet sustainable solutions using easy-access resources. Initiatives like the non-profit International Development Enterprises ⁴ in Nepal allow the local farmers to tap into global information without having to spend their limited resources on personal equipment. The cooperatives share phones so that they can check market prices and avoid being taken advantage of in negotiations.  SOCIAL DESIGN Combining local trust networks and striving for sustainability calls for other, better solutions than poor copies of the systems in the developed world. It also tackles one of the pitfalls that growing economies need to navigate: the risk of spending a disproportionate percentage of increased national revenues on technology instead of health and education. Systems like free text messaging, reliable communication networks and easy-to-build recharging systems become crucial.

The same logic was used in the development of the Open Source Washing Machine ⁵ using solar power, loudspeakers or bicycle tires. The design work started from the available materials and actual needs of the local communities. This approach to design would make it possible for developing countries to become frontrunners in smart recycling.

Smarter Crowds

The greatest potential in open design lies in building from incentives. According to Michel Bauwens, open and peer-to-peer processes have a built-in drive to seek the most sustainable solution. ⁶ When the entire process is a negotiation of the common good, there will be an automatic push to search for a solution that can be applied to various situations. As people twist and turn the matter, analysing it from many different angles, the true nature of the problem becomes clearer. A crowd of people will always be able to subject a problem to more thorough scrutiny than an army of corporate anthropologists.

In a climate of adaptation and rapid prototyping, PRINTING we can test the functionality of various alternatives in a faster pace. This reduces the risk of betting everything on the wrong horse, as is often done in the traditional process. Open design is part of a shift from ‘wow design’ to ‘we design’. Making that shift, however, requires broader access to places of experimentation and learning like Fab Labs.

The new dividing line is the underlying motives of the people involved: whether things are done for benefit (altruistic motives) or for profit (selfish motives). Legislation and education play a key role in the ongoing change. As Michel Bauwens has pointed out, true for-benefit design leaves room for new people. ⁷ New people notice undiscovered errors and contribute new resources and new ideas. A good example of design for benefit is Whirlwind, ⁸ which has in the last 30 years provided thousands and thousands of wheel-chairs to developing countries. Product development collaboration  CO-CREATION between developing and developed countries has guaranteed that the chairs can handle the rough circumstances. The drawings are protected by a Creative Commons license. The biggest success is the RoughRider wheelchair, produced by local manufacturers and already used by 25,000 disabled people in developing countries.

By pooling knowledge and resources, individuals can actually turn the supply chain around. Inspiring examples can be found in the field of architecture. Take Loppukiri, ⁹ a home for the elderly in Helsinki, Finland. Disappointed by the options for assisted living currently on the market, a group of pensioners pooled their funds and selected an architect to work with them on building residential facilities that would meet their specific needs. The Loppukiri cooperative did not limit their design process to their physical surroundings; they also designed structured activities and living arrangements in consultation with numerous professionals. The people in this community split domestic chores, cook lunch for each other and eat together. All in all, they have efficiently solved one of the greatest challenges of aging: loneliness and social isolation. The co-designed architecture of the building supports this community-based ethos and the members are keen to share their lessons with others.

As the example demonstrates, crowds do not make the professional irrelevant. The same approach could be adapted to other groups with special needs. The role of the designer would increasingly shift toward the roles of a trainer, translator and integrator. In order to tap into available resources and the in-depth knowledge held by the group, the designer needs to adapt to their needs and desires. Pooling a number of designers to tackle a bigger community challenge might be a way to win the trust of a new client. In a world where the crowds control the resources, the need for value-driven design grows. This clearly represents a potential growth market for design agencies functioning as a cooperative or a social enterprise.

Time Is Money

Open design requires a re-evaluation of the concept of time. People are willing to contribute more time to shared initiatives when they have a sense of the common good. True happiness comes from feeling needed, valuable, wanted, confident and competent. Open design at its best allows people with skills, experience, knowledge and enthusiasm to contribute their time and energy to building something together – and the desire is there. The recent economic turmoil and an increasingly well-educated population also add potential momentum  OPEN EVERYTHING to the open design movement.

Super-diversity makes it all the more difficult to apply clear distinctions between experts and amateurs. The strategy towards inclusion and trust often acts outside the global monetary world. It means valuing people’s contributions based on the assumption that every individual can have equal value. This is where innovations such as time banks ¹⁰ , the Design Quotient proposed by design agency IDEO, and hyperlocal currencies ¹¹ come in. When people earn credits by participating in a design process,  CROWDSOURCING we give a useful and important reminder that citizens have both the right and the responsibility to take part in shaping their world. Structured participation can accelerate the positive cycle; for instance, each person’ contributions could be tracked in the form of hourly credits, which could then be traded for help from someone else. Systems that foster healthy co-dependency, such as time banks, remind us that everyone has something valuable to share: social skills, technical excellence, catering for a session, or translation. Tools like the School of Everything ¹² – local social media for bringing people together to learn from each other – make it possible to provide a clearer impression of what a community actually can do.

Open design towards sustainable local happiness seems to take a major time investment. Luckily, time is something we have in abundance. The age of ‘useless people’ looks very different in different parts of the world. In Central Africa and the Middle East, the number of young people clearly outnumbers the number of elderly people; in sharp contrast, Japan has nearly five pensioners to every young person. Although many people from both groups will remain in or enter the labour market, the number of people who have nothing meaningful to do is still growing. Whether this time is directed into private endeavours or put to use for the common good is crucial to the well-being of our communities, as well as for the global resource potential. This means serious rethinking, especially in cultures where individual value has been closely linked to gainful employment.

Design for Better Living

Participation in the process is also a strong driver for sustainability. Taking part in the creative process associates the final result more strongly with an experience. Recent studies have shown without a doubt that product consumption has a lower impact on personal happiness than experiences. The sense of ownership generated by participation creates a stronger emotional bond, both between the object and its owner, and between the object and the people in the owner’s network. Objects with an experiential dimension transform into tangible memories, whereas pure objects are subject to material degradation and devaluation. In addition, if we assume shared ownership of the solution as well as the end product, we need more people to be involved in deciding how to handle disposal.

Design stemming from a desire to serve the common good is really about giving people tools to live fuller and better lives and creating objects with a longer shelf life. Inspiring examples of the potential already exist. For instance, Open Source Ecology ¹³ is a project of strengthening self-sufficiency in food production. Sharing the instructions on how to turn a Toyota Corolla into an eCorolla ¹⁴ allows people to improve something they already own.  REMIX The Open Prosthetics Project ¹⁵ shares the peer-to-peer learning curve with all the physically disabled people of the world. The Factor e Farm in Missouri ¹⁶ explores ways to create an off-grid community relying on scrap metal and labour. By putting the results out in the open for everyone to see and adapt for their own use, communities of people can learn from each other. Through copying, prototyping, improving and formatting, the common good can grow. Motives are crucial here: if a person’s intrinsic motives for participating are about solving problems in their own community, the right strategy for growth is sharing the methods openly.

It is difficult to say whether open design leads to better services and products. What it certainly does accomplish is building stronger communities. COMMUNITY It allows people to get to know the people around them while doing something meaningful. It builds bonds and healthy, reciprocal dependencies as people exchange services, equipment and time. As people join in, design is rooted in the DNA of their lives and they keep the end products longer. Open design also builds support for peer-to-peer politics.

Open design is a crucial tool for discovering ‘Us’ again. When successful, it challenges the traditional preconceptions about knowledge, professionalism and democracy. Open design shakes up the current balance of power. It will therefore not come as a surprise that many of the remarks warning against the purported dangers of open design – lower quality, poorer aesthetics, more junk, things that will not work – express the same complaints echoed in every democratization process in history, all the way back to the French Revolution.

The right question to ask is not which process will lead to the best design. The fundamental question is far simpler: what is right and just?

Bert Mulder

Open design for government is a challenge. Not only is open design itself a relatively recent concept, but design and government generally do not interact easily. We do not often talk about governments designing things; we say that governments institute policy and procedures, develop urban planning and create services. Even in a recent Dutch initiative with the grand name of The Hague, Design and Government the tagline reads ‘design for public space, architecture and visual communication’. When design for government is discussed at all, design is mostly seen as functional.

But design will become an increasingly necessary and strategic tool for government at all levels. That is why exploring the relationship between open design and government is not only interesting, but also timely and necessary.

Today’s society requires us not only to create a wider range of diverse solutions, but also to do so faster and better.

Exploring the possibilities of open design for government requires delicacy. Much of open design thinking seems to be in the ‘hype’ phase of Gartner’s hype cycle, where arguments for and against reflect hopes and expectations rather than reality, simply because there is little or no experience on which to base tangible forecasts. This article takes a somewhat analytical approach, outlining several qualities of open design and government and identifying potential challenges. It describes a plan and proposes developments that would stimulate open design in the public sector. Essentially, this article tries to envision what open design would be like as a structural and strategic tool for government.

The Importance of Design

The first reason to consider open design for government is the increasing importance of design across the board. This increase is occurring because our increasingly complex society requires more design. TREND Where supermarkets in the 1960s stocked 1000 products, today’s supermarkets carry between 20,000 and 40,000 items. All these products need to be created, produced, marketed, bought and used. This process is why design has grown from ‘nice to have’ to ‘need to have’: we need to create more products and services to sustain our society, and to present them in a way that is meaningful to us.

But design is also becoming more important for another reason. Today’s society requires us not only to create a wider range of diverse solutions, but also to do so faster and better. New challenges require fundamentally new solutions; simply extrapolating the past will no longer suffice. And because solutions will have to survive into a future different from today, the ability to design well becomes more important. We need to shape society with the future in mind, REVOLUTION not relying on a past that increasingly has little bearing on the problems we face today; we need to realize better and more sustainable solutions using imagination, innovation and our talent for creativity and creation.

Why Government is Involved in Design

Future-driven thinking is what makes design fundamentally important for government. To face the challenges that the future will hold, the government needs to develop and integrate design competencies into its processes. Analysis and simple extrapolation governed by political processes will have to give way to imagination and more original creation, buildings more sustainable solutions. The development of social innovation serves as an example: design professionals are creating novel solutions in social contexts.  SOCIAL DESIGN This approach involves a more strategic use of design by the government than the simply functional use of design in public space, architecture and visual communication.

A second reason why design capability becomes essential for government is the new complexity of the networked society: government policies and services are increasingly developed in networks that link many different partners. The complexity of a context involving many different stakeholders and regulatory frameworks makes it essential to have a central concept to bind it all together. These considerations also mean that any development in the design field will potentially have relevant applications in the public sector. Clearly, the development of open design for government purposes is an important trend.

Open Design: Requirements and Domains

Current discussions of open design often refer to two related developments: open production and open design. Design(ing) with reference to the ongoing revolution that is triggered by the ubiquitous availability of digital design and production tools and facilities and that reverses the distribution of design disciplines. It portrays design as an open discipline, in which designs are shared and innovation of a large diversity of products is a collaborative and world spanning process.¹ Neither happens by itself and each requires very specific conditions. Analyzing those general requirements will make it possible to achieve a more precise indication of what preconditions would be needed to facilitate open design for government.

DIY  DIY is a good example of how open design gets started. To really take off, do-it-yourself production requires access to appropriate materials, tools and techniques to empower enthusiastic amateurs. For instance, DIY projects around the house require a power drill, easily available wood and fastening techniques that unskilled workers can use. This is how amateurs start designing and making things in any field; every professional started somewhere.In the same way, open design emerges in parallel with the availability of user-friendly and accessible information, methods, concepts, values and tools that allow non-professionals to create their designs. Homebrew electronics materials are available in electronics stores, and the corresponding plans can be obtained from electronics magazines or websites. When all these resources are available, more people may be encouraged and empowered to create their own designs.

Both DIY production and open design empower the user by putting professional tools in the hands of the masses. Those tools are usually available on different levels. At the simplest level, professional solutions are provided as easy-to-use templates   TEMPLATE CULTURE that users can re-use and apply without significant modification. At the intermediate level, tools are available as design templates or generative code that users can modify to create their own designs.  BLUEPRINTS At the highest level, skilled amateurs may access and use advanced design tools used by professionals. When open design for government becomes a reality, it will by necessity consist of a variety of ready-to-use solutions, design templates and advanced tools. Open design should be distinguished from other recent design developments in which users have been more intimately involved in the design process, such as participatory design, co-design or social innovation. In open design, many users are able to design on their own. They are not users involved in a design processes that is initiated and run by professional designers. Open design moves in two directions: outward, when individuals design and produce their own individual products, and inward, when people design solutions collaboratively. The latter faces the additional challenge of coordinating complex systems. Open design for government creates the conditions for many people to design solutions together – and that’s exactly what governments do.

Both DIY production and open design empower the user by putting professional tools in the hands of the masses.

Open design for government may lead to different outcomes than are currently being achieved. These outcomes may include harvesting novel ideas from a larger audience, such as in crowdsourcing; improving the quality of a design; promoting participation and loyalty; or facilitating the creation or composition of actual services. Open design may be used for all or any of these, but will have to be adapted to the desired outcome. There are two roles that open design could fulfil in the private sector. First, it could serve the government in its interactions with the people, as a civic resource that gives citizens the ability to take part in the processes of governing. Second, it could serve the government internally to support and contribute to existing government processes supporting government agendas. Again, it could be used in both directions, inward and outward, but the way open design is used would have to be adapted to the desired outcome. The tools for open design themselves are not affected either way, but supporting a pre-existing agenda means obeying pre-existing procedural constraints, which means that open design is not solely reserved for citizens.

When Open Design Meets Government

When open design meets government, design must adapt to the constraints of government in order for the two to interact. In the same way that architects or industrial designers have a basic understanding of building materials, the forces of physics, and the requirements of production, design in the public sector is subject to its own specific constraints. What would open designers need to operate in a government context?

Open design and government might have been made for each other. After all, doesn’t the government work for all of us, and wouldn’t it be much better if we all contributed? In some sense, democracy at large might be seen as a form of ‘design’ where society is run ‘by the people, for the people’: all of the people are involved in designing better futures for each other. However, the structure of the democratic process as it stands now (whether representative or direct) hardly involves citizens in the process of designing new solutions.  MASS CUSTOMIZATION The government seems to have its own requirements. So how could the characteristics of open design fit those requirements?

Open design for government will follow government activities. The government is involved in setting policies and providing services in such domains as economics, infrastructure and urban design, welfare and healthcare, culture, education and public safety. These are the subjects of government, and open design for government will have to produce useful solutions in those areas in order to be successful.

The government’s agenda mirrors society’s needs. Running a country or a city involves a finite number of activities; one might assume that open design would focus specifically on those activities. It can be compared to having a family, which also involves making a finite number of decisions in consensus: we really only need to sit down together a few times a year to deliberate such matters as buying an expensive household appliance, deciding where to go on holiday, choosing where to move or what school would be best for our children. While the process of open design may involve more people in the discussion, it will not increase the number of issues on the agenda, nor make dramatic changes to its structure.

Public administration works for the public good. Accordingly, open design for government will have to balance the wants and needs of many different citizens while dealing with power, politics and the manufacture of consent. That is why open design does not mean designing individual solutions for individual cases; rather, the process will have to take into account the balance of power between different stakeholders. One of the important elements in that process is fair representation: open design for government cannot be a process taken on solely by the strong and able; it must also involve the weak and underrepresented.  SOCIAL DESIGN

Open design for government needs to support a deep and empathic sense of the needs of ‘users’. The best solutions never consider such concepts as ‘society’, ‘citizens’ or ‘the public’ to be a generic class. One neighbourhood is not the next, one side of town is not identical to the other, and one city does not face precisely the same challenges as another. The same holds true from one generation to the next, and no group in society can be considered a carbon copy of another. Either the open participants, or the process in which they are involved, needs to have the ability to recognize and honour these distinctive qualities and let them ring through in the solutions that are created through open design. In order for open design for government to be effective, it has to be sensitive to the rhythm of government. Policy and development processes have their own dynamic and may take many years to synchronize. To achieve maximum effect, any contribution needs to play its role at the right time in the policy cycle or development process. It will be a major challenge to integrate a complex process of open design, with its own dynamics, without disrupting the necessary tempo and quality of decision-making.

Participation

Open design implicitly assumes that many people will participate once tools and materials become available. However, participation is more complex than that. Participation in today’s political process is a challenge in itself, but participation in online activities is also uneven. On large-scale, multi-user communities and online media sharing sites, user contributions are characterized by participation inequality. Only 0.16% of all YouTube users actually contribute video content; approximately 0.12% of Flickr users contribute their own photos. It’s called the 1% law: only 1% of users contribute, while 9% post comments, and 90% are silent observers.

Doesn’t the government work for all of us, and wouldn’t it be much better if we all contributed?

What’s more, the online communities on those sites are not representative of average web users; actual participation is probably lower if the subset is extended to include all websites on the internet. In itself, the 1% law does not have to be a disadvantage. It closely resembles the state of political participation: only 3% of the Dutch population is actively involved in a political organization; of those, about 30% are active in local politics: about 1% of the population. Early findings on the reality of online political participation show that it tends to be biased, and, just as in real life, the active participants are always the same group of people. Preliminary research on e-petitions for the German Parliament shows this. The online audience is a different group from the people who participated in real life (in this case younger), but online political participants seem to belong to a separate group anyway: highly educated white males.

In open source software development, participation is a major challenge. Projects have a hard time finding enough people who are sufficiently qualified and motivated, and an even harder time keeping those people involved. The current successful examples, such as Linux and Apache, draw their contributors from the 1.5 billion users on the global internet – and only about 1600 programmers among those 1.5 billion users are actual contributors. Scaled down to the level of small cities or neighbourhoods, that level of participation presents a major challenge. Although there are more than 120 million blogs on the internet, it is hard or even impossible to find one good blogger at the level of a single neighbourhood. There is simply too little news content and too few people able and willing to write daily or weekly posts. In the Netherlands, the number of contributors to the Dutch version of Wikipedia is too small to maintain good-quality content. Open design for government may be a good idea, but finding enough people to sustain it will be a challenge.

To really participate in a process of open design for government, participants would at least need access to information on aspects like the financial, regulatory and political consequences of their design effort.

Another widespread assumption is that there is a correlation between civic participation and the democratic quality of society. A related assumption is that finding ways to increase online participation will, in turn, contribute to the democratic quality of society. Research does not support that assumption; rather, it shows that the relationship between participation and democratic quality may be more complex.

Quality

One of the challenges of open design for government is quality. Decision-making at a government level is not about individual and small-scale projects, nor is it about short-term, localized projects. Any contributions to the process would have to create the kind of quality that supports large-scale, long-term projects, answering to regulatory, financial and political constraints. Of course such an argument may be focusing too much on the design outcome: the real result of open design for government might be a greater sense of participation, transparency and increased loyalty.

Involving more people does not create better design, most of which comes from individual designers or small teams. In fact, involving more people may be detrimental to the quality of the result. Of course a larger group may produce more unexpected and useful ideas – that is one of the ways that crowdsourcing produces results.  CROWDSOURCING However, turning ideas into a good design requires a completely different process. An illustration may be seen in online petitioning. First results show that e-petitions often fail to contribute serious new policy ideas, though they may increase the people’s feeling of participation and transparency.

Good design requires experience and knowledge of many different aspects of materials, production, marketing and user needs. Design for government is its own domain requiring its own skills. For social innovation, where designers operate in a social context, professional designers estimate that about 5% of their colleagues possess the necessary skills to deal with new and different complexities. Open design for government invites untrained and unskilled participants; the open design process must empower them in a way that compensates for their lack of experience. In open design for government, projects may be active in a wide variety of domains and bring complex challenges on different levels. Open design is simple where challenges and solutions are straightforward and the aim of the process is participation. But when real complexity comes into play, creating the right prerequisites for open design becomes more of a challenge – it will require more extensive information, better tools, more refined methods and deeper shared values.

The Ecology: Information, Tools, Methods and Values

Open design relies on participants who have been empowered with the right information, the right tools, fitting methods and shared values. When done well, these create a constructive balance between the complexity of the design task and the abilities and motivation of the prospective participants. To really participate in a process of open design for government, participants would at least need access to information on aspects like the financial, regulatory and political consequences of their design effort. Then they would need tools to work with that information: visualize it, analyse it, integrate it. They would need methods to support the design process and the manufacture of consent. All of this would be active within a framework of values and concepts that is needed to design appropriate solutions.

New digital tools allow users to create mashups that show the policies and regulations currently in effect on every piece of land and property.

The field of urban design shows the complexity and the power of such an ecology of information, tools and methods. In that field, basic information is becoming available now that datasets of geographic and policy information are open to citizens. This trend is apparent in the DataGov projects in several countries, including the US, UK, Australia and the Netherlands. New digital tools allow users to create mashups that show the policies and regulations currently in effect on every piece of land and property.

After Hurricanes Katrina and Rita, Louisiana was in urgent need of immediate community redevelopment, which had to be implemented far more quickly than usual. The Louisiana Speaks Regional Plan was a key part of the response. One of the design tools used in the project was the Louisiana Speaks Pattern Book, a resource used to inspire and empower all those rebuilding their communities. It contained an extensive analysis of Louisianan quality in buildings, communities and regions and provided design patterns for new houses and communities, formulated as easy-to-understand examples with the aim of inspiring better, higher-quality projects. The design patterns incorporated the complexity of historical analysis, the qualities specific to the region and the possible modern interpretations in such a way that it was easier for designers to create quick solutions while retaining good quality.

These efforts were based on another generative model, which aims to bring about a ‘21st-century correction’ of the American urban landscape. Called Smartcode, it outlines the best physical attributes of regions, communities and individual buildings and specifically embodies the views of the New Urbanism movement. It addresses all levels of design, from regional planning and the shape of communities down to individual buildings. Smartcode also outlines a design method in which local citizens are actively involved in calibrating the general design code for use in local circumstances. All this shows that, in urban planning, the general trend is increasingly facilitating the requirements for open design. As basic information becomes available, various tools are developed to use the data, followed by a design method that supports active involvement by citizens; finally, the code clearly describes its value systems. Of course, we may want to influence the trends to ensure that they suit the needs of a real open design for government – but the basic elements of the ‘open ecology’ are being developed.

This is just one example; there are many more, but it illustrates the necessary ‘ecology’ in which different components (information, tools, methods and values) may be necessary to support open design. The necessary support framework may be more readily apparent in urban planning, since it is already a design-based domain. When open design meets government, we should see a similar development in other domains like healthcare, welfare, public safety, economics and education. Creating the same ecology for policymaking in healthcare or public safety will require further development.

Fostering Open Design for Government

Open design is in its early stages and open design for government is a promise at best. What if we not only described the possible preconditions needed to facilitate open design for government, but also developed an agenda to stimulate it? Although some projects embrace new ways of working, such as crowdsourcing to involve citizens, that is far from open design for government. A much clearer practical agenda may help to harmonize relevant developments, creating synergy and better quality.

An agenda for development would require an investment on four fronts: further developing the core concept, outlining its possible implementations, identifying their components and stimulate experience in different projects. We need to ask ourselves what we really mean by ‘open design for government’, what it could be, what it should be and what it needs. Only a more operational view can provide the basis for a practical development agenda. Scientific studies are not the first priority; there is nothing to research yet. What is needed is a design effort to outline what open design for government might actually look like. We need scenarios, concept studies and small projects to refine possibilities and parameters. Such a clearer understanding of what open design actually means would allow us to gauge the current trends (such as open government data, new tools for visualization, new developments in design) and to determine whether they possess the right qualities to support a truly open design process.

We will see open design being used in government, partly because design is becoming more important, and partly because the tools and methods necessary for open design will become more readily available. Open design may serve a range of aims, from creating a sense of participation and harvesting new solutions, to genuinely inspiring better solutions for government challenges. However, in order to realize the potential this presents, we will need to make the move from dreams to reality, despite the serious challenges that arise in considering open design for government. As practical concepts are developed further, creating synergy between new and current developments may provide the parameters needed to support open design for government. Whether all of this will lead to higher-quality design for government will depend on the quality of the tools, methods and values that we come up with. Perhaps it is time to make use of the open design process in establishing open design for government.

Peter Troxler

In today’s society, individuals often collaborate in producing cultural content, knowledge, and other information, as well as physical goods. In some cases, these individuals share the results and products, the means, methods and experience gained from this collaboration as a resource for further development; CO-CREATION this phenomenon is referred to as commons-based peer production.

Commons-based peer production is most widely practiced in the area of software development: open source software. The most prominent examples of open source software are the Linux operating system and the Apache web server. Open source is not the exclusive domain of software, however; it has spread into other domains, from culture and education to knowledge discovery  KNOWLEDGE and sharing. Examples include the many people who use Creative Commons licences, CREATIVE COMMONS the Blender movies, VEB Film Leipzig, the countless initiatives in open education, the SETI@home project, Wikipedia, Open Street Map, or Slashdot. Commons-based peer production is generally attributed to digital revolutions: the widespread availability of new, digital information technologies. ¹

While its origins can indeed be traced back to digital development, commons-based peer production goes beyond the purely digital domain. A number of open source hardware projects currently aim to produce tangible goods through a peer-production approach, not to mention ‘fabbing’ initiatives (abbreviated from fabrication) that seek to make it possible for anyone to manufacture their own goods.

Perhaps these initiatives are emerging because many “physical activities are becoming so data-centric that the physical aspects are simply executional steps at the end of a chain of digital manipulation”, as Shirky suggests. ² Then again, perhaps the commons-based peer production model “provides opportunities for virtuous behavior” and so “is more conducive to virtuous individuals”. ³

Yochai Benkler argues that “in the networked information economy – an economy of information, knowledge, and culture that flow through society over a ubiquitous, decentralized network – productivity and growth can be sustained in a pattern that differs fundamentally from the industrial information economy of the twentieth century in two crucial characteristics. First, non-market production (…) can play a much more important role than it could in the physical economy. Second, radically decentralized production and distribution, whether market-based or not, can similarly play a much more important role”. ⁴ TREND: NETWORK SOCIETY

The business, or rather, the benefits of commons-based peer-production are not uniquely monetary. ⁵ The rewards include indirect mechanisms, such as the positive effects of learning on future earnings or enhanced reputation, which in turn can lead to future (paid) contracts for consultancy, customization, maintenance or other services. The business also includes what economists call hedonic rewards: not consumption, but the act of creation gives pleasure to the prosumers. Peer recognition is another physiological reward, involving ego gratification. This part of the business is an exchange of production for consumption that does not rely on monetary means.

Open Source Hardware

Since 2006, Philip Torrone and Limor ‘Ladyada’ Fried have been curating Make Magazine’s definitive guide to open source hardware projects MANIFESTOS that started out as a holiday season spending guide to ‘gifts that give back’. ⁶ Under the heading Million Dollar Baby – probably alluding to the underdog nature of open source hardware – they presented fifteen examples of companies at O’Reilly’s Foo Camp East in May 2010:

Adafruit Industries, makers of educational electronic kits; Arduino, the open source computing platform; Beagle Board, a manufacturer of open development boards for computers; Bug Labs, known for their modular Lego-type computer hardware; Chumby, standalone Internet content viewers; Dangerous Prototypes, Dutch hackers turned entrepreneurs who sell an open source reverse engineering tool; DIY Drones, for open source unmanned aerial vehicles (autopilot drones); Evil Mad Scientist Labs and their fun educational projects; Liquidware, who make Arduino accessories; Makerbot Industries, the company behind MakerBot 3D printers and the sharing platform Thingiverse.com; Maker Shed, the shop behind Make Magazine and Maker Fair; Parallax, education in microcontroller programming and interfacing; Seed Studios, for Chinese Arduino derivatives; Solarbotics, for solar kits, robot kits and BEAM robotics; Spark Fun Electronics, for education and prototyping electronics products.

All these companies are selling open source hardware and creating some kind of community around them. Together, they generate a turnover of about US$ 50m, or so Torrone and Limor estimate. They reckon that there are currently about 200 open source hardware projects of a similar kind. The open source hardware community will reach a turnover of US$ 1b by 2015, according to the forecasts made by Torrone and Limor. Some of these communities have seen exponential growth recently, such as the RepRap community. ⁷

Kerstin Balka, Christina Raasch and Cornelius Herstatt went to great lengths to collect examples of open source hardware projects through Open-Innovation-Projects.org. In 2009, their database consisted of 106 entries, 76 of which were truly open development of physical products, or open design. Open design as defined on that site is characterized by revealing information on a new design free of charge, with the intention of collaborative development of a single design or a limited number of related designs for market exploitation. Among others, their database includes community projects such as Openmoko, Fab@home, OpenEEG, One Laptop Per Child, SOCIAL DESIGN Mikrokopter, or RepRap.

it is naïve to believe that open source software practices could be copied to and applied in the open design realm without any alteration, ignoring the constraints and opportunities of materiality.

Balka, Raasch and Herstatt used this database of open design projects for statistical studies to identify similarities and differences in open source software projects. ⁸ They found that, “in open design communities, tangible objects can be developed in very similar fashion to software; one could even say that people treat a design as source code to a physical object and change the object via changing the source”. ⁹ However, they also find that “open parts strategies in open design are crafted at the component level, rather than the level of the entire design” ¹⁰ and that “the degree of openness differs significantly between software and hardware components, in the sense that software is more transparent, accessible, and replicable than hardware”. ¹¹ WYS ≠ WYG Indeed, despite the many academic discussions that support such a view, it is naïve to believe that open source software practices could be copied to and applied in the open design realm without any alteration, ignoring the constraints and opportunities that the materiality of design entails.

Fabbing

Besides these single-aim or single-product projects, there are other initiatives promoting commons-based peer production primarily by sharing designs and encouraging people to ‘make things’. Some are about making things for the fun of it;  GRASSROOTS INVENTION the Maker Faire in the USA, Make Magazine and Craft Magazine are all good examples. Some initiatives are about easy sharing, distribution and promotion, such as Ponoko, Shapeways and Thingiverse. Others involve more serious or more ambitious social experiments, such as the Open Source Ecology with their experimental facility, Factor E Farm. ¹²

And there are initiatives of commons-based peer production that could be summarized under the heading of ‘shared machine shops’. ¹³  These initiatives are typically centred around workshops equipped with hand tools and relatively inexpensive fabrication machines (e.g. laser cutters, routers, 3D mills). Users produce two-dimensional and three-dimensional objects that once could have only been made using equipment costing hundreds of thousands of euros. They use digital drawings and open source software to control the machines, and they build electronic circuits and gadgets.

100k-Garages is “a community of workshops with digital fabrication tools for precisely cutting, machining, drilling, or sculpting the parts for your project or product, in all kinds of materials, in a shop or garage near you”. ¹⁴ Most of these workshops are located in the USA and Canada (about 180), with five shops in Europe and two in Australia. 100k-Garages are essentially establishing a network of distributed manufacturing shops that produce their users’ designs for a fee. They are providing a professional manufacturing service, rather than offering shop access for makers to make their own things themselves. Through quality of workmanship and standardization of equipment – the network is sponsored by ShopBot Industries, a maker of CNC routers – they are establishing a platform which guarantees the making end of it and frees users to focus on design. Ponoko, one of the preferred sharing platforms, enables further exchange.

TechShop is a group of workshops that are equipped with typical machine shop tools (welding stations, laser cutters, milling machines) and corresponding design software. TechShops are mainly based on the ‘gym model’: a monthly subscription buys users access to tools, machines, design software, and other professional equipment. Courses on how to use the tools are offered, too, for a fee. Located in Menlo Park, San Francisco and San Jose, CA, Raleigh, NC, Portland, OR, and Detroit, MI, they cater to a US-based clientele. ¹⁵ Chris Anderson describes them as an “incubator for the atom age”; ¹⁶ according to his account, the facilities are mainly used by entrepreneurs who come to a TechShop for prototyping and small batch production. The online member project gallery, however, shows such diverse projects as a 3D scan of an alligator skeleton, custom-made sports equipment, movie props, a laser-cut gauge for bamboo needles, a laser-etched laptop and an infrared heater for an arthritic dog.

Hackerspaces are another venue where peer production takes place, self-defined “as community-operated physical places, where people can meet and work on their projects”. ¹⁷ Emerging from the counterculture movement, ¹⁸ they are “place[s] where people can learn about technology and science outside the confines of work or school”. ¹⁹ Equipment and funding are collective endeavours.

A hackerspace might use a combination of membership contributions, course fees, donations and subsidies to sustain itself. Activities in hackerspaces evolve around computers and technology, and digital or electronic art. Hackerspaces are founded as local initiatives following a common pattern. The Hackerspaces ecosystem comprises several hundred member locations world-wide, of which roughly half are either dormant or under construction. ²⁰ Becoming a hackerspace is essentially a matter of self-declaration – an entry on the hackerspaces.org wiki is sufficient – which lowers the barrier to entry enormously, at least for advanced computer users. However, this low barrier to entry is probably also the reason for the relatively large number of ‘registered’ but dormant hackerspaces. Collaboration  CO-CREATION between Hackerspaces has recently begun in the form of ‘hackathons’; these marathon sessions currently do not seem to extend beyond displaying the activities happening at the spaces taking part. ²¹

the open source label confers a certain coolness in some circles of a gadget-crazy world.

Fab Lab, short for fabrication laboratory, is another global initiative with a growing number of locations around the world. Fab Labs have a more conceptual foundation, as they emerged from an MIT course entitled ‘How To Make (almost) Anything’. ²² While there is no formal procedure on how to become a Fab Lab, the process is monitored by MIT, and MIT maintains a list of all Fab Labs worldwide. At the moment of writing, the Fab Lab community COMMUNITY comprises about sixty labs, with another fifty to open in the not-too-distant future. There are a few collaborative projects within the community, and a number of initiatives to exchange designs and experience between the labs. Similar to the hackathons, but occurring more regularly and systematically, all the labs around the world can get in contact with each other through a common video conferencing system hosted at the MIT which is used for ad-hoc meetings, scheduled conferences and the delivery of the Fab Academy training programme.

Academic publications note a number of examples of Fab Lab projects. Mikhak and colleagues report on projects in India, at Vigyan Ashram Fab Lab just outside the village of Pabal in Maharashtra, and at the Costa Rica Institute of Technology in San Jose, Costa Rica. The projects in India are about developing controller boards to facilitate more accurate timing of the diesel engines they use to generate electrical power, and developing devices to monitor milk quality not at the collection centres and the processing plants, but at the producer level. The Costa Rican projects revolve around wireless diagnostic modules for agricultural, educational and medical applications, for example monitoring a certain skin condition in a rural village. ²³ SOCIAL DESIGN

In FAB: The Coming Revolution on Your Desktop, Neil Gershenfeld lists examples of what students at MIT made in his course on ‘How to Make (almost) Anything’. The list includes a bag that collects and replays screams, a computer interface for parrots that can be controlled by a bird using its beak, a personalized bike frame, a cow-powered generator, an alarm clock that needs to be wrestled with to turn it off, and a defensive dress that protects its wearer’s personal space. ²⁴

Arne Gjengedal reports on the early projects at the Norwegian MIT Fab Lab at Solvik farm in Lyngen. His list includes the ‘electronic shepard’ (sic) project that used telecom equipment  RECYCLING to track sheep in the mountains, the ‘helmet wiper’ for clearing the face shield in the rain, the ‘wideband antenna’ for the industrial, scientific and medical (ISM) radio band, the ‘Internet 0’ project for a low-bandwidth internet protocol, the ‘perfect antenna’, and the ‘local position system’ for positioning of robots in the lab. ²⁵

Diane Pfeiffer describes her own experiments and projects in the context of distributed digital design. Her experiments were Lasercut News, Digital Color Studies & Pixelated Images, Lasercut Screen, and Lasercut Bracelets (which she sold at a local shop); the projects she worked on were Distorted Chair and Asperatus Tile. ²⁶

The Business Promise

All those initiatives represent various aspects of a commons-based peer production ecosystem (non-market or radically decentralized production) or are at least contributing to the emergence of such an ecosystem.

Torrone and Fried have shown how a regular and sizeable market has grown around open source hardware. Those open source hardware businesses clearly operate under market conditions and their production is not radically decentralized. Indeed, Torrone and Fried’s agenda might even be said to ‘prove’ that open source hardware results in marketable products. Evidently, the open source label confers a certain coolness in some circles of a gadget-crazy world.  OPEN EVERYTHING

Yet many of these open source hardware components – Arduino and MakerBot being the most prominent examples – are providing open source ingredients to a peer production ecosystem at a price that outweighs the pain of sourcing all the parts, having to deal with manual assembly, or facing issues of incompatibility. As components, they can become building blocks of higher-order machines. In that sense, they function as a platform for open source development. As far as the components themselves are concerned, they are open source in the sense that their internal structure and functioning are made transparent and potentially modifiable.  BLUEPRINTS

As flat-packed, self-assembly, open source machines, they are the choice of many peer-producers and form an important basis for highly decentralized – and highly customized – production. It becomes possible to own machines at the price of building them rather than the price of buying them pre-assembled. DOWNLOADABLE DESIGN And their open source nature makes it easier to adapt them to specific requirements or even repurpose them in novel ways.

Rather than commoditizing ingredients, 100k-Garages commoditize one part of the making process: the cutting. If there is a dense enough network of such facilities in any particular region, this makes a certain practical sense in terms of efficiency and safety, given the somewhat demanding fabrication process of a ShopBot CNC router as compared to a laser cutter. However, it establishes a division of labour, and it deprives user-clients from accessing potential learning experiences and therefore potentially contributing to a more general commons. The result is that the ShopBot remains a commons apart, and somewhat closed at that.

TechShops, Hackerspaces and Fab Labs are all providing facilities and knowledge as part or rather as a basis of a commons. The environment in which TechShops operate is strictly commercial. Peer production might happen by accident, but there seem to be no incentives to support it. As an ‘incubator for the atomic age’, they remain safely in the market arena, yet they are effectively creating opportunities for decentralized prototyping and production.

In contrast, Hackerspaces live up to their name, definition and history by building on non-market, sometimes even anti-market  MANIFESTOS commons-based principles. Their core focus is doing personal and collective projects. And Hackerspaces are far from exclusive; they frequently include casual users who might spend a lot of time in hackerspaces. Nick Farr even speculates that those casual users are “perhaps making more significant contributions than regular members, but decline to officially join for many different reasons.” ²⁷

The Fab Labs’ commitment to a commons is clear from how they are structured. Fab Labs subscribe to a charter which, among other things, stipulates open access, establishes peer learning as a core feature and requires that “designs and processes developed in fab labs must remain available for individual use”. In the same clause, however, the charter also allows for intellectual property to be protected “however you choose”. Underlining this point, it explicitly continues that “commercial activities can be incubated in fab labs”, while cautioning against potential conflict with open access, and encouraging business activity to grow beyond the lab and to give back to the inventors, labs, and networks that contributed to their success. ²⁸ Fab Labs incorporate an interesting mix of characteristics that might seem contradictory at first, but might well be considered the best practical approximation of Benkler’s networked information economy.  TREND: NETWORK SOCIETY

‘Libraries’ of the Peer Production Era

The fabbing universe could be described on two dimensions, characterizing initiatives as more reproductive or more generative in their nature, and as more infrastructure-oriented or more-project oriented in their approach.

Books, Libraries, and the Choices of Self-Directed Productivity

Open source hardware – as components or production equipment – not only embodies the technical knowledge of products and production the way that traditional components and machines once did. In sharp contrast to the opaque and impenetrable black boxes of advanced 20th-century engineering,  WYS ≠ WYG they give users access to that knowledge as a result of their open source design. Akin to books, which seem meaningless to people who cannot read, but open their content to those who have achieved literacy, open source hardware reveals its technicalities to those who grasp that language.

If open source hardware can be compared to the ‘books’ of commons-based peer production, then TechShops, Hackerspaces and Fab Labs are its libraries. Traditional libraries act as common points of access to knowledge coded in books, and in fact offer locations where knowledge can be produced. Similarly, copy shops allow anybody to produce their own range of print products, from cards to books, T-shirts and mugs. Cyber-cafés also provide access to knowledge, as locations where everybody can link into a common information and communication infrastructure. Those new labs are the places that provide general access to the tools, methods and experience of peer production. Indeed, the National Fab Lab Bill presented to the US Congress in 2010 EVENT argues along these lines, aiming “to foster a new generation with scientific and engineering skills and to provide a workforce capable of producing world class individualized and traditional manufactured goods”. ²⁹

The business proposals of open source hardware and the various fabbing initiatives are not equally straightforward in every case. As discussed, commons-based peer production has found ways to generate monetary returns by selling open source products, charging memberships fees in open source communities, or providing paid education and manufacturing services. To some extent, the strong appeal of commons-based peer production can probably be attributed in part to its hedonic rewards: the pleasure of being creative, the pride of recognition by peers, the feeling of achievement and status. However, there are no clear examples of indirect mechanisms deriving tangible benefits from these hedonic rewards, such as makers getting corporate development assignments or contracts as product managers thanks to their reputation in open hardware design. If such examples exist, they are not being discussed openly. And commons-based peer production has yet to realize its potential as a platform for many more developers and producers to generate a substantial income under market or non-market conditions.

As Yochai Benkler notes, it is “important to see that these efforts mark the emergence of a new mode of production, one that was mostly unavailable to people in either the physical economy (…) or in the industrial information economy.” ³⁰ The initiatives of commons-based peer production give more people more control over their productivity in self-directed and community-oriented ways. The variety of the initiatives give people a range of fundamentally different options to choose from, and indeed requires them to make those choices instead of accepting a mode of consumption that has been predetermined by a lobby of the current “winners in the economic system of the previous century.” ³¹

Even if the emergence of open source hardware and fabbing initiatives only dates back a few decades, commons-based peer production is still in its early days. Nobody knows yet whether the one and only correct, long-lasting and sustainable approach to this new mode of production has been found yet – or even if such a uniform approach will ever emerge.
REVOLUTION It seems much more likely that the current trend will develop into a plethora of different models that embrace various aspects of commons-based peer production, with users switching between different models as appropriate. It will be interesting to see whether and how traditional businesses will be able to adapt to a new reality of real prosumer choice.

OPEN SOURCE HOUSING PROJECT, EMERGING GHANA, BY BLAANC AND JOÃO CAEIRO ➝ DESIGN AND GOVERNMENT / BERT MULDER

PHOTO: BLAANC AND JOÃO CAEIRO

FAIRPHONE: CELL PHONE DESIGN WITHOUT ANY CONFLICT MINERALS, A FAIRER PHONE FOR THE THIRD WORLD ➝ FAIRPHONE / JENS MIDDEL

IDEA: WORKING-5-TO-9, IMAGE: CHRIS KARTHAUS AND FLORIS WIEGERINCK

THE $50 LEG: A CHEAP PROSTHESIS FOR DEVELOPING COUNTRIES ➝ FIFTY DOLLAR LEG PROSTHESIS / ALEX SCHAUB ET AL

PHOTO: ALEX SCHAUB, FAB LAB AMSTERDAM ➝ FABLAB.WAAG.ORG

BAMBOO INSTEAD OF ALUMINIUM

PHOTO: ALEX SCHAUB, FAB LAB AMSTERDAM ➝ FABLAB.WAAG.ORG

TRYING DIFFERENT MATERIALS

PHOTO: ALEX SCHAUB, FAB LAB AMSTERDAM ➝ FABLAB.WAAG.ORG

THE $50LEG: A COLLABORATIVE EFFORT

PHOTO: ALEX SCHAUB, FAB LAB AMSTERDAM ➝ FABLAB.WAAG.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.