Posts Tagged ‘Fabbing’


From 17th to 26th June, there was “Futur En Seine” in Paris, a popular festival about life and digital creation. I had the chance to be here during a whole week, hosted and working in the temporary FabLab² as a finalist of the (Un)limited Design Contest.
More details of the work in progress on my blog, flickr, and on thingiverse for the files of my project of a folding shelve (Ronen Kadushin and other liked it ^^).

It was a very good occasion to taste what could be a Fab Lab, from the designer point of view (its addictive to have access to all these tools), but also for the public (I think we evangelized a wide audience) and the interaction with them (we made plenty of things for/with many people). And now everyone want a permanent Fab Lab at the “Citée des Sciences et de l’Industrie”.

Besides that, there were a lots of conferences (I missed “what tools for amateurs in a Fab Lab context?”, but we can read about here, in French) and many events/workshop (for diy enthusiasts, kids, to learn 3D softwares, or Arduino,etc.) see also this pearltree.

I was very occupied by the Fab Lab, but I could attend at least some conferences, including the one I was waiting for : The Future of Creation (with Neil!).
I took many notes but what’s following is the most important things I keep from this presentation and for each speaker.

There was two major keyword : open, and collaborative.
From the enlightenment of creativity, that spread with the democratization of digital tools and the rise of the sharing culture, to the basic freedom of the commons that are needed to really enable that sort of renaissance of a new free creative culture.

Marleen Stikker

She bets that in the future it will be “open design by default”, open as the new norm in design, including all the design process. With the digital and distributed manufacturing revolution, products are personal again and we can put them online or share them like music. That disrupts all the known business models, and design people are afraid but more and more understand the shift: cut the middle man, share blueprint not product.

She also insists on open knowledge, because knowledge empower peoples, we must understand how things are made (like they said “if you can’t open it…you don’t own it”). And with the Open Data movement, all is new again, allowing anyone to make meaning from data. And when having a bunch of personal data, we can and tend to quantify ourselves. Imagine now that everyone not only use the data but can also add their own, by sharing them, like for the citizen research (not counting butterflies, but your CO² footprint by example).
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If you have 30 minutes, I suggest you to watch this video of Neil Gershenfeld at Maker Faire Bay Area 2011, where he fully explain Fabbing and Fab Labs and current state of the research about digital fabrication as the act of embodying computation. From machines that make machines to code that becomes an object, like information does in proteins. Note the sentence “the killer app for digital fabrication is personal fabrication”.

Analog phone calls degraded with distance; we now have the Internet. Analog computations degraded with time; we now have PCs. But today’s most advanced manufacturing processes, whether additive or subtractive, remain analog because the materials themselves don’t contain information. Prof. Neil Gershenfeld, Director of MIT’s Center for Bits and Atoms, will present research on digital materials, and discuss its implications for the future of making things.

via | Digital Fabber

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In two previous posts (here and here), I started explaining that Open Design is now getting out of the underground, since many important design companies, institutions and other actors are now actively working on it. This does not mean that all the problems that we must solve in order to have a real collaborative Open Design are gone; it’s just easier now to talk about Open Design, since we have famous examples to show.
With this last post I will show some important exhibitions and design festivals where Open Design has a relevant place.

04. Technocraft: An exhibition about Product Hacking

Yves Béhar (founder of the fuseproject design agency) and famous for being the designer of the One Laptop Per Child‘s XO laptop, curated his first exhibition last year: TechnoCRAFT: Hackers, Modders, Fabbers, Tweakers, and Design in the Age of Individuality ( July 10, 2010 – October 3, 2010, Yerba Buena Center for the Arts in San Francisco, USA).

TechnoCRAFT looked at the different ways that consumers are personalizing design products with their own creativity and individuality in an age of mass-production: the exhibition included six subthemes:

  • crowdsourcing
  • platforms
  • blueprints
  • hacks
  • incompletes
  • modules

Beside being curated by a famous designer, this exhibition is important since it tracked the history of hacking in the design history and pointed to its future development. Some of the designers / products included in the exhibition were:

For further insights, you can read this interview of Yves Béhar for the Domus magazine:

technology is in many ways opening new horizons in the world of craft by allowing new ways for designers and crafters to: a) learn and share techniques b) to find a new marketplace for their wares.

For me, the designer is always in charge of creating great experiences around the products they design… But who are these experiences created for? A consumer or buyer. [...] many of the ways in which consumers intervene on products by making them more unique to individuals simply means that the ergonomics, the function and the aesthetic is adapted to one’s specific needs… This is a traditional view of design’s purpose.

For some pictures about the products showed in the exhibition, have a look at the DesignBoom article.

05. An event and a book, from Styria (Austria)

Another (and quite important) sign that Open Design is becoming mainstream comes from Styria (one of the federal states of Austria). In February 2011, Creative Industries Styria organized the fourth Creative Industries Convention in Graz and it was devoted to the topic of Open Design hosting a speech by Ronen Kadushin (most probably the first real Open Designer).
After the event, they produced a free documentation about Open Design that is now available. It is an important step because the document clearly shows there is an official interest in Open Design by public institutions in Styria.
Just to give you an idea of the document, the best quote comes from Paul Atkinson that wrote:

In order to maintain a significant role in the design and production of goods, professional designers will have to lose their egos and change their role from the design of finished products to the creation of systems that will give people the freedom to create high quality designs of their own; systems which free the user from requiring specialist skills in design, yet which produce results retaining the designer’s original intention. The better a particular designer’s system works, the more successful that designer will be. Designers unwilling to change risk becoming ghosts of the profession.

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In a previous post, I started explaining that Open Design is now getting out of the underground, since many important design companies, institutions and sci-fi writers are now actively working on it. This does not mean that all the problems that we must solve in order to have a real collaborative Open Design are gone; it’s just easier now to talk about Open Design, since we have famous examples to show.
With this post I will show other important examples coming from the Netherlands (other examples will be shown in a third and last post).

03. A competition, Droog Design and a book, from the Netherlands

03. 01 (Un)limited Design contest

The first Open Design competition, (Un)limited Design Contest, was held in 2009 and 2010, in first instance in The Netherlands, in the second year also in Germany and Belgium. During the first year about 80 designs/products were submitted to form the first (Un)limited Design collection.
The competition has been organized by Premsela (who runs an interesting program about Open Design called People’s Republic of Design), Waag Society, Etsy, FabLab Netherlands and Creative Commons Netherlands.

To enter the competition, anyone could either submit a new design or make a derivative of an existing design submitted by others by using the machines in a Fab Lab or any other prototyping facility. For this reason, apart from the designs themselves, the blueprints and instructions relating to the submissions are also published on the competition website under a Creative Commons license.

As part of the festival Future en Seine 2011, Fablab Squared and Mag/Lab will host a French edition of the (Un)limited Design Contest (from 25th March until 29th May).
The contest received a lot of international attention currently, with requests for an edition in Austria and Brazil.

03. 02 Droog Design: Design for download

We can certainly say that Open Design is now mainstream if the most famous conceptual design company starts a business around it. This is the case of Droog Design, that with Mediagilde started the Design for Download initiative (previously called downloadable-design).

This initiative will be presented during the Salone del Mobile in Milan in 2011, but the launch of the platform, featuring various brands and institutions alongside Droog, will occur later this year. The platform will not only include products, but also architecture, home accessories, fashion, food, wearables, and more.
For the moment Droog will present furniture and accessories designed for download by EventArchitectuur and Minale-Maeda, including CNC cut tables, cupboards, desks, side tables, shelves, couches and 3D printed electrical outlets, flowers and charms. Furthermore:
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Few months ago, Platoniq commissioned me a report about business models for Open Hardware, DIY Craft and Fab Labs, for their crowdfunding project Goteo. It is now available here in English, under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License; it will be soon available in Spanish from Platoniq’s YouCoop website. Just note that the two versions may slightly differ (it happens when you work on two different versions of the same document); the idea is to transform it in a collaborative book in the future, here on openp2pdesign.org.
After the part about Open Hardware, here’s now the second part, about business models for Fab Labs.

Fab Labs and other places for designing and making collaboratively

As we have seen in the previous post, Open Hardware and similar Open projects can grow as communities inside specific places like hackerspaces. Such places are interesting because they are, at the same time, enablers of open and collaborative projects, and business models for them. In this post I will cover Fab Labs, as the most evolved and potentially big places (they could in fact also host hackerspaces) for collaborative projects, and their business models.
Lead by Neil Gershenfeld, the Fab Lab program is part of the MIT’s Center for Bits and Atoms (CBA) and it broadly explores how the content of information relates to its physical representation and can be embodied in or abstracted from: the intersection between information theory and industrial design. A Fab Lab (digital fabrication (fabbing laboratory) is a small-scale workshop with an array of computer controlled tools that cover several different length scales and various materials, democratizing manufacturing technologies previously available only for expensive mass production.
So far Fab Labs have been opened in rural India, northern Norway, various European countries, Afghanistan, Ghana, Boston and Costa Rica. Fab Lab outreach projects are being explored with a growing group of institutional partners and countries including Panama, Trinidad, South Africa, the National Academies, the Indian Department of Science and Technology, and the Africa-America Institute. The official list of FabLabs is hosted here, while other lists can be found here:


View Fab Labs on Earth in a larger map

There is no formal procedure on how to become a Fab Lab and the process is monitored by the MIT. All the labs around the world are 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.

Funding a Fab Lab: how much does it cost?

CNN reported that the Center for Bits and Atoms was funded with $14 million by the National Science Foundation in 2001. Anyway, starting a Fab Lab should be much cheaper: Fab Lab Afghanistan (in its wiki) and allbusiness.com reported that a full Fab Lab currently costs about $50,000-$55,000 in equipment and materials without MIT’s involvement. Other sources like ideasexist.com and aps.org reported that a Fab Lab should costs only about $20,000.
In 2009, the Center for a Stateless Society proposed to organize a Fab Lab using open-source tools such as the Fab@Home 3D printer, with resulting costs between $2,000 and $5,000 total. Bart Bakker of Utrecht, Netherlands built one for under € 3000. Another initiative called Replab.org proposed the construction of an open source Fab Lab that costs $12,500.
Tools lists are available on the Center for Bits and Atoms website here and here; there is even a task list for managing a Fab Lab as well.

Running a Fab Lab: Business Models

Even the official Fab Lab Charter (drafted in 2007) recognize that Fab Labs could adopt a business model for commercial activities and roughly defines some guidelines for such models:

Business: commercial activities can be incubated in fab labs but they must not conflict with open access, they should grow beyond rather than within the lab, and they are expected to benefit the inventors, labs, and networks that contribute to their success.

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FULL PRINTED from nueve ojos on Vimeo.

There’s one more reason for going to Barcelona these months: Full Print3d. Printing Objects, an exhibition about 3D Printing in the Disseny Hub Barcelona. Unfortunately I had no time to blog it before, but the exhibition is from 16.06.2010 to 29.05.2011, so there’s still time to visit it.
All of the objects presented at Full Print3d were created using different additive manufacturing processes and are organize into six thematic areas: freeform, variation, customization, complexity, materiality, and finally, applications and research. Some examples are products from Fluid Forms, Freedom of Creation and Nervous System.

The exhibition was curated by Marta Malé–Alemany, architect and co-director of the Masters Program at the Institute for Advanced Architecture of Catalonia (IAAC) (where I gave a lecture one year ago).
I collaborated with Marta for the exhibition (that’s why I’m in the credits), and my little help was mainly about researching the strategic applications of 3D printing with a broader perspective: I’m not interested in the technology details so much, but more in how these technologies can be used for developing Open Design projects and in general, Open and Complex projects.

Marta Malé-Alemany talking about the exhibition (in Catalan):

Full Print3d. Imprimint objectes from DHUB on Vimeo.

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In February 2010 I was invited to give a lecture about Open P2P Design and to be part of the jury for the students’ projects in the Open Source Design class (one of the few first classes ever organized):

This course this oriented to the design, generation and production of an open source and shared platform to promote the online exchange of knowledge, this will permit to prompt the customization and personalization of elements as furniture. The goal is to create an Internet based interface (web 3.0) that will allow to interchange, share, download and upload designs all over the world.

I was invited by Marta Malé-Alemany, and the other members of the jury were Lucas Cappelli, José Pérez de Lama (from hackitectura.net and Universidad de Sevilla), Areti Nikolopoulou (from The commons factory together with José Pérez de Lama), Mara Balestrini.

Jury at Iaac>>> Open Source Design Seminar

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01. Open P2P Design workshops

The last part of the November 2009 tour took place very far, in South Korea (in Seoul) and in Singapore where I facilitated two workshops together with Roger Pitiot. Both workshops share the same structure and contents, even if the Singapore one had to be one day shorter (3 days instead of 4).
Let’s start reporting these workshops with the structure and the contents, something we had been working for months and we can easily replicate in other contexts in the future.
With the next posts I will explain in details what has been done in both workshops.

02. Workshop Contents

Design 2.0: designers meet social networks and new technologies for distributed systems

What is Design 2.0, where it’s coming from and going to, why it’s interesting and what we should expect

  • complex problems
  • increasing importance of design
  • open innovation
  • opening design
    • with new technologies
    • Knowledge sharing
    • social networks
    • fabbing

Open P2P Design: how to organize open projects for distributed systems

What is Open P2P Design, where it’s coming from and going to, why it’s interesting and what we should expect enable distributed creativity

  • collaborative activity for complex problem solving
  • metadesign for open process
  • co-design for open projects

The Workshop will answer the following questions:

What is Open Design and how can we develop it with a community in a collaborative way?
(more…)

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Digimag

Two months ago, I was interviewed by Bertram Niessen for the Digicult magazine, Digimag; that interview was published on the May 2010 issue, n. 54.

DIGICULT is an online/offline Italian platform, created to spread digital art and culture worldwide. It focuses on the impact of new technologies and modern sciences on art, design, culture and contemporary society. DIGICULT is based on participation of more than 40 professionals, representing a wide Italian Network of critics, curators and journalists in the field. DIGICULT is the editor of the magazine DIGIMAG, which focuses on some cultural and artistic issues like internet art, hacktivism, electronica, video art, audiovideo, art & science, design, new media, software art, performing art.

Here is the Italian interview, and here’s their English translation (both are released under a Creative Commons Attribution-Share Alike license). Here it is, without the images (go to the original magazine for them and for Bertram’s introduction), but with more links I’ve added and a little bit of editing:

Digimag May 2010

Bertram Niessen: Reading through your website, the subjects of posts range from social service design to car design. How would you then define open p2p design field of application/action?

Massimo Menichinelli: Open P2P Design is the proposal of a new design methodology for the co-designing of open and peer-to-peer collaborative activities with/for communities, through an indeed open and shared process aimed to co-design such active collaborations. A community-centered design, in short. I began developing this method in reaction to a lack: albeit the presence of an interest in replicating open and p2p organizational patterns, this issue has been researched uniquely through implementing the use of dedicated software and technologies so far, without a proper social planning (with sometimes ineffective results).

The fields in which this can be applied are potentially vast and still being defined. Think about the various cases of open methods implementation: we go from biotechnologies to mineral processing, like Goldcorp Inc. used them for! In sum, these systems can be applied to any activity we are aiming to turn into an open and collaborative one, or on top of that wherever it is thought that a cooperative activity might solve a specific issue through the presence of active participants.

Open P2P Design is not the design of communicative artifacts neither commodities, but rather the design of a collaborative activity (for instance design of services and other activities), which would itself be dedicated to the issue to be tackled (maybe then through the collaborative design of a communicative artifact or some commodity). I chose not to bound Open P2P Design action field solely to design since it would be limiting and also because it can actually represent a further way to diffuse open and peer-to-peer principles and dynamics.

As a general principle, the Open P2P Design method can be applied wherever we desire to arise a collaborative activity, both in already existing communities and in ones to be created.

We can develop cooperative activities within firms businesses as well as collaborate with them to create community-based cooperative businesses. An example of this are Open Innovation initiatives, where instead of merely catching information or offering activities where users/communities don’t have an option to intervene, it is chosen to really co-create together with a community the development of open innovation. We can also initiate collaborations within a firm, in case the sole adoption of a software appears to be insufficient to generate the aimed collaboration (i.e. the current Enterprise 2.0 approach).

On top of that we might even develop community-based businesses, as it happened with the GiffGaff telephone company, in which some of the company tasks are performed by users (and examples might continue with mass customization). I also believe users and communities must be involved in ‘bottom of the pyramid‘ targeted businesses, in order to avert inadequate suggestions (see The Onion satirical article in this regard), establishing an equal debate instead.

Concerning public administration, it is interesting to examine the Open Government form: this definition presently refers to the publication of government owned data, put under open licenses in order to facilitate citizens and organizations to independently visualize and present them. This move aims to increase institutions’ transparency in order to allow citizens to be more aware of public management and hence making aware choices. A big step forward, nonetheless we could push ourselves further, for instance developing open p2p and collaborative public services, as the RED Unit of the Design Council did in Britain. A further step forward might be turning activities that are now governments’ and public administrations’ prerogative activities into open, collaborative ones, as the documentary “Us Now” thoroughly shows .

Finally, public administrations can adopt this method in case they might need/want to develop collaborative networks within a definite territory or city, concerning the field of social development enterprises willing to reinforce local social and economic networks.

Furthermore, this system can be applied in order to develop creative projects such as Open Hardware and Open Design conceived as Open Product Design as well as Open Web Design, Open Interaction Design, Open Font Design, Open Movie Design, Open Game Design, Open Architecture and Open Fashion Design, just to give some examples.
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When you start a FabLab, is more important to know its role within a city than to know exactly how to operate machines.

A Shift: a documentary on FabLab in The Netherlands. from Elmine Wijnia on Vimeo.

Visitors and managers of the FabLabs in The Netherlands tell the story of FabLab.
Please take your time watching it. It is not YouTube bite sized ;)

Nederlandse versie: http://vimeo.com/11275970

via | FabLab.nl

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